Song of Surrender

Thursday, 1 February 2018


Abundant talent 
By Charukesi

That there is abundant talent available in Carnatic music in Tamil Nadu's neighbouring states is an accepted fact.   Choosing a few among them is a difficult task and the team of Sumitra Nitin, Dr. S. Sundar and Usha Bhardwaj had done a good job of arriving at the best young voices in Karnataka, featured by TAG Corporation headed by Mr RT Chari, and Music Forum of Chennai. 

While listening to these young voices, this writer had an open mind and did not indulge in comparisons with the already heard vocal talents, as that would only prejudice his decision.

The opening day’s concert was by Shreya Kolathaya of Puttur. She has a brilliant voice that traversed all three octaves comfortably that evening.  While her Sahana alapana (for Evasuda) and Purvikalyani (for Ninuvina mari) was evocative, her elaborate Bhairavi alapana (for Tanayuni brova) was impeccable.  The filler Rama mantra japiso and the tukkadas Adum Chidambaramo, Kasturi tilakam and Brindavana dolagaduvadare were quite impressive.  Her mellifluous voice is her strong point.

Krishna Pawan Kumar of Mangalore is endowed with abundant manodharma, which was evident in his raga alapana of Todi (for Koluvamaragatha) and Lalita (for Hiranmayeem).  He did not try sruti-bhedam and stuck to his chosen ragas.  His voice was melodious and comfortable in niraval and swara passages.  His fillers included Kakkai chiraginiley in Tamil, which he presented it without any flaw.

Harini Ramesh from Hassan packed her concert with many items, but could manage to accommodate all of them within the stipulated time.  Her alapana, for example, in Neelambari, Shanmukhapriya and Bilahari was brisk and brief and could sustain the interest of the rasika.

Her rendition of Brihadambikayai in Vasanta and Tayae Tripurasundari in Suddha Saveri was particularly impressive. Her pleasant voice was another attribute to the success of her concert.   

The youngest participant Aditi Prahlad who seemed to be good in all the departments of alapana, kriti rendering, niraval-and swaraprastaram. While she has a pliant voice, she also has enormous self-confidence and above all, vidwat to suit her age.  Right from the Viriboni varnam to the concluding Yasode amma, she kept the audience in her hold.  There was not a dull moment  in her recital.  Her Madhamavati alapana for Nagupai and Todi preface to Raju vedala  stood out for their special pidi-s and manodharma. No wonder she has won a vast number of prizes in classical and light music. 

Young Nishanth from Bangalore disappointed with his overemphasis on kanakku.  He needs a good mentor to point him in the right direction.

The accompanists were:

M. Vijay (violin) and Sunil Subramanya (mridangam) for Shreya.

Shraddha Ravindran (violin) and \Kishore Ramesh (mridangam) for Krishna Pawan.

Vishwajit (violin) and Malola Simha (mridangam) for Harini Ramesh.

Vishwesh Swaminathan (violin) and Nikshith Puttur (mridangam) for Aditi Prahlad

Arushi Ramesh (violin( and L. Subrmanian (mridangam) for Bangalore Nishanth

All the instrumentalists acquitted themselves admirably and supported the vocalists well.

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