Song of Surrender

Tuesday, 8 January 2013

Promising youngsters at the Music Academy

By SV Venkateshwaran

On 26 December, Vignesh Ishwar, who has a rich voice, rendered a disciplined Todi raga alapana, and Tyagaraja’s Kaddanu variki in that raga.

Confidence, brilliance and articulation permeated DB Ashwin’s concert in the next slot. Beginning with Dikshitar’s Pavanatmaja in Nattai, he rendered Pantuvarali (Tyagaraja’s Vadera deivamu) Todi (Ninne namminanu) and a Natakurinji ragam-tanam-pallavi. The raga alapana, niraval and swaraprastara for all the songs elicited audience interest. Aswin has the potential to become a star performer.

At his mandolin concert, even as we were wondering why as many as six items were presented without any raga alapana during the first hour, U Shrinivas announced he would be rendering a ragam tanam pallavi in five ragas—Sankarabharanam, Bhavapriya, Abheri, Vasanta and Tanarupi. As each raga was played for a very short time, the pallavi was unimpressive. The scintilating moments we normally experience in his concerts were absent. The percussion trio of Srimushnam Rajarao (mridangam), Giridhar Udupa (ghatam) and Selvaganesh (khanjira) revelled in the tani avartanam.

The thin attendance for his concert did not deter Kunnakudy M Balamurali Krishna from giving a performance marked by dedication and sincerity. His Mohanam alapana and Subhapantuvarali ragam-tanam-pallavi were highly impressive and most of the audience stayed till the end.

The Trichur Brothers Srikrishna and Ramkumar Mohan are to be appreciated for their menu—Kanada varnam, Sri Mahaganapati in Gowlai, Jambupate in Yamuna Kalyani, Seethamma in Vasanta, Dasukovalena in Thodi for the concert at Music Academy on 23.12.2012, 12 to 1.30 concert. This ensured variety in tempo, bhava and mood. They sang with great confidence. However their Todi raga alapana was disappointing. It lacked beauty; the sancharas were not pleasing to the ears.

In her concert at Narada Gana sabhas on 20th Dec 2012 Pantula Rama, rendered what she announced as the original Abheri (Nagumomu) with suddha dhaivatam. It sounded different from the Abheri generally prevailing. It would have been better if she had sung a few lines in both the versions to explicitly bring out the difference.

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