VIEWS: 12 PAGES: 1 POSTED ON: 7/24/2011
2 MUSIC SEASON THE HINDU FRIDAY, DECEMBER 26, 2008 Team young and enterprising Talent, skill and creativity — this bunch was not lacking in anything. CHARUKESI Y oung vocalist M.R. Subrama- niam has a soft and pliant voice. His opening song ‘Jaya Jaya Ja- nakikantha’ in Nattai, as well as the succeeding ‘Deva Deva Jagadees- wara’ in Purvikalyani revealed this. His alapana of Karnataka Kapi was brief for the Swati Tirunal kriti ‘Su- masayaka’ but was emotive and evo- cative. The unhurried pace in handling this kriti lent both majesty and poise. Subramaniam’s alapana of Natta- kurinji was elaborate, perhaps be- cause it was the main piece of his concert. His pronunciation while rendering the kritis is very clear and he does not mumble, even in fast ENCHANTING: (Clockwise from top) Manjari Chandran Ramesh, Savita Narasimhan and Abishek Raghuram. PHOTOS: V. GANESAN passages. He rendered the kriti ‘Am- ba Pahi Janani Santhatham,’ taking so be another strong contender to Deva’ (Neelambari), “I am dedicat- Thodi in all its grandeur, in his unayaka’ of Tyagaraja in Hamsadh- the line ‘Kamaniya Kama Rupe’ for be shifted to the next slot! ing this song to my friend who came afternoon concert. It looked as wani she kept up the mood of the niraval and followed it by swarakal- Manjari Chandran Ramesh’s from Bangalore yesterday.” Rather though he wanted to explore the lively concert and there was never a pana. ‘Hey Govinda Hey Gopala’ in veena recital began with Saveri raga frivolous, one thought. raga in all its majesty before pre- dull moment in her presentation. A Desh was soothing as a closing song. varnam ‘Sarasooda’ and she went Abhishek’s alapana of Mohanam senting the kriti, ’Karthikeya Gan- very short alapana of Pantuvarali Mridangam vidwan A.V. Manikan- on to play a very short Kanada for was of a high order. He brought out geya Gauri Thanaya’ of Papanasam followed by a brisk paced ’Vadera dan’s accompaniment was good and the kriti ‘Varasiddhi Vinayakam.’ all the salient features of the raga in Sivan. Both the ’gambeeryam’ of the Deyvamu’ of Tyagaraja with mini- he played a lively thani. Violinist B. Her alapana in Hindolam for ‘Mara- his presentation. He paused for a raga and the richness of the compo- mal swaraprasthara had its own Ananthakrishnan too was another manan’ of Papanasam Sivan was few seconds during his alapanas and sition well suited Sandeep’s sono- charm. The Chandrajyoti kriti, ’Ba- competent supporter during niraval moderate as it failed to produce the niravals often, before bringing out rous voice. His swarakalpanas were gaya Nayya’ again from Tyagaraja and swaras. enchanting quality of the raga. the stunning sangatis. This, in a also very imaginative and were repertoire, was soberly. For the Sikkil Gurucharan had an ex- However, she made it up in her way, showed that he is a thinking praiseworthy. He positioned this as kriti of Muthuswamy Dikshitar’s cellent team to support him — Ava- swarasprasthara, which was de- musician, trying to present cerebral the main piece before the ’Thani’. ’Ranganayakam,’ Savita sang a brief neeswaram Vinu for violin and H.S. lightful. music, when he could easily touch To begin the concert, however, he Nayaki alapana as a prelude. Her Sudhindra for mridangam from start Manjari could have played a short the heart of the rasika with his chose the varnam ’Karunimpa’ in alapana of Saveri was a brilliant to ﬁnish. Gurucharan scored strong alapana of Durbar before embark- pleasing melody. Sahana and moved on to the Moha- one, as her manodharma helped her points in all the three areas like, ala- ing on the kriti ‘Yochana,’ which Midway through the concert, na raga kriti ’Maruvukudaya’ of scale heights. She rightly chose the pana, niraval and swarakalpana and could have added a little more Abhishek took the Tamizh-path for Garbapurivasar. Sandeep did not song ’Muruga Muruga Enral’ of Pe- this made his concert memorable. weight to her performance. She the rest and sang ‘Kapali’ of Papa- embark on niraval, but fully com- riyasami Thooran, to remind the Gurucharan has a slightly husky played Bhairavi alapana touching nasam Sivan, made immortal by pensated with his excellent swa- audience of the composer’s centen- voice that has a special charm and the contours of the raga and played Madurai Mani Iyer. After a brilliant raprasthara. Alapana for ary this year. the moment he completes the alapa- a brief tanam too, for ‘Neepada- thani by A. Anand, Abhishek sprang Devamanohari song ’Evarikai Avat- Being the month of Margazhi, she na, the entire audience is enrap- mule,’ a composition of Patnam a surprise with another Tamizh ara’ of Tyagaraja was just in right rendered ’ Pullinvai Eenranai’ an tured. This was true when he sang Subramania Iyer. Ashwin Sridha- ragamalikai, ‘En Thaayum Enak- proportion. A brief but lilting alapa- Andal pasuram before launching an Ritigowlai raga alapana for Swati Ti- ran’s percussion support was good karul Thanthaiyum’ and yet anoth- na of Nalinakanti followed and he elaborate Bhairavi. It was enchant- runal’s ‘Paripalayamam,’ after the throughout and particularly in tha- er Papanasam Sivan’s Tamizh piece sang the Swati Tirunal kriti, ’Palaya ing, to say the least. She avoided invocation-like ‘Siddhi Vinayakam’ ni. in Kapi, ‘Sodhanai Sumaikku.’ Sudha’. Here too, Sandeep sang only RTP but sang ’Nee Paadamule’ of in Mohanakalyani. Raga Madhyama- Abhishek Raghuram revealed Finding that he was still left with the swarakalpana but that made an Patnam Subramania Iyer, without vati for ‘Rama Katha Sudha’ of Tyag- in his afternoon concert that he is a ﬁve minutes, Abhishek presented a impact. N.S. Chidambaram’s raga- niraval but only with swarakalpana, araja was also equally catchy. potential vidwan. His manodharma moving Tamizh viruttam ‘Alayum maligai ’Neethaan Thunai’ with a perhaps for want of time. Savita For the kriti ‘Paripalayamam,’ he coupled with a steady and strong Maname Ariyayo.’ chain of ragas Neelambari, Vasntha Narasimhan sang in Sindubhairavi eschewed niraval, but took up swa- voice, make him a singer of a differ- Charumathi Raghuraman, the Bhairavi, Gaurimanohari, Saraswa- for the lines ’Kaadalagi Kasinthu’ raprasthara in right earnest. Howev- ent ilk. His diction, whatever the young violinist who provided ac- ti, Sriranjani, Mohanakalyani, Dur- from Sambandar’s Thevaram evok- er, for ‘Ramakatha,’ there was language of the sahityam, is very companiment showed she too could ga and Jothiswaroopini served as ing guesses from the audience that niraval for the line ‘Bamamani Jana- clear. He began his recital with meet the vocalist’s challenges ad- the ﬁnale of the concert. she would end with ’Chandrasekara ki Sowmitri’ and Gurucharan joy- Tyagaraja’s Poornachandrika kriti mirably. The violinist C.V. Krishnasubra- Eesa’ but she switched over quickly ously went about it. ‘Palukavemi Na Deivama’ and If Abhishek was at his powerful manian was found wanting in alapa- to Behag to render an alluring ’’rak- Koteeswara Iyer’s ‘Ganamudha moved on to Patnam Subramania best in alapana and swarakalpana in nas and mridangam vidwan S.J. kam Varamal Ponadenna Kara- Bhanam’ in Jothiswarupini was an- Iyer’s ‘Marivere Dikkevaru’ in La- Mohanam, Charumathi’s versions Arjun Ganesh offered Sandeep the nam?’ of Gopalakrishna Bharati. other scintillating kriti that Guruch- tangi. The niraval ‘Tharaloki Ni were sedate and scintillating. A. required support apart from playing Savita had the complete support aran rendered to the delight of the Saatti’ was treated with briga-laden Anand played with lot of antici- an impressive thani. from the violin accompaniment of audience. ‘Senthanai Senkottu Vela- sangatis. pation and the ‘naadham’ of his That Savita Narasimhan has a Nishant Chandran who was good at nai’ was the only Tamizh song heard It disturbed the solemnity as he mridangam was unique. captivating voice is a fact and she alapana and swaraprasthara and the at the close in Gurucharan’s concert. announced in the middle of render- The young Sandeep Narayanan uses this to her full advantage. percussion assistance of Manakkal Looks like this young man would al- ing the song ‘Madhava Maamava excelled in delineating the raga Right from her opening kriti ’Ragh- Sriram was perfect.
Pages to are hidden for
"Team young and enterprising"Please download to view full document