Rajalakshmi Fine Arts' September season (Coimbatore) featured some of the promising and up-and-coming talents during the afternoon slots. Niranjana Srinivasan's pleasing stage presence, melodious and weighty voice, perfect diction and lively imagination will take her to significant heights if only she weans herself away from the strong resemblance to Nithyashree's style of singing.
Niranjana began with a Lalgudi varnam, ‘Innum En Manam' in Charukesi and proceeded to present ‘Sripathe' in Nagaswaravali with elaborate swaraprastaras. The well-selected songs, ‘Chera Raavademira' in Ritigowla, ‘Nannu Brovu Lalitha' in Lalitha, ‘Mohanakara Muthukkumara' in Neethimathi and ‘Meenakshi Memudham' in Purvikalyani were neatly rendered. The lighter session went on predictable lines. Arthi's lovely strokes on the violin were quite enjoyable and K.S. Raghunath on the mridangam was lively and supportive.
Savitha Sriram's voice has a good throw and her training under Bombay Balamani and P.S. Narayanaswamy has given her the required depth. Her Bhairavi preceding the heavyweight ‘Koluvaiyunnade' was quite deep and the pleasing brigas glided through effortlessly. Namdev's abhang and Srimushnam Raja Rao's thillana in Hamsanandhi were presented with elegance. B. Ananthakrishnan's violin was pleasant and Arjun Ganesh added liveliness on the mridangam.
Palakkad G.K. Sivaraman made an impressive beginning with a brief alapana of Saveri and followed it up with the varnam, ‘Sarasooda.' Tulasivanam's ‘Bhajaamahe Sri Vinaayakam' in Hamsadhwani was presented with appropriate flourishes. He sustained the interest of the audience with rare kritis such as ‘Karuna Samudra Rama' in Devagandhari by Tyagaraja, ‘Maaye, Tvam Yaahi' in Tarangini, ‘Nahi Re, Nahi Sankaa' by Sadasiva Brahmendrar and ‘Sri Kamalambike Sive' by Muthuswamy Dikshitar.
‘Karunaa Nidhi Ilalo' in Thodi by Syama Sastri was the central piece and he rendered it with due honour and respect. Subbaraman on the violin and Unnnikrishnan on the mridangam lent aesthetic support.
Sincere approach
The stamp of guru Seshagopalan was clearly discernible when Sudharshan Padmanabhan rolled out the briga-filled swaras with ease. His song selection included ‘Mahaganapathe Paalayaashumaam' (Natanarayani), ‘Paramapurusha Jagadeesha' (Vasantha), ‘Kannatandri Nannu (Kuntalavarali), ‘Paavana Muraari Pada Seva' and ‘Anathudanu Gaanu'(Jingla). An elaborate alapana of Kalyani preceded ‘Amma Raavamma' by Tyagaraja. Sudharshan has taken music seriously and is quite sincere in his approach. However, he will do well to add a little more spirit to his performance. Ambika Prasad on the violin and K.S. Raghunath on the mridangam joined him to form a successful team.
Vidya Kalyanaraman gave a spirited performance based on the Sanskrit kritis of Papanasam Sivan. Her quiet confidence, clear diction and strong patanthara are the legacies of her guru Suguna Varadachari. She began majestically with ‘Sri Valli Devasenapathe' in Natabhairavi. As one kriti followed another, one was astounded by the composer's mastery over Sanskrit and his ability to weave the words into wonderful mental pictures.
‘Sharade, Veenaa Vaadana Vishaarade' in Devagandhari, ‘Narayana Nalinayatha Lochana' in Sama, ‘Dasarathaatmajam Santatam Aham Vande' in Purvikalyani and ‘Sri Viswanatham Bhaje' in Bhairavi brought credit to Papanasam Sivan as well as the vocalist. Suguna's unhurried alapanas and interesting swara patterns made the concert truly enjoyable. The thillana in Behag and ‘Raamam Bhajatha Manuja' gave an appropriate finish to her lovely performance. B. Anantha Krishnan on the violin gave melodious support and established himself as a great artist during the alapanas. Arjun Ganesh's energetic mridangam added to the effect.
‘Sowkya bhava' predominated in Ashwin Anand 's veena recital. A disciple of H.V. Krishnamurthy and R. Vedavalli, he let the melody flow through his fingers smoothly and emphatically. He began with ‘Karunimpa' in Sahana and presented ‘Mahaganapatim' in Nattai, ‘Meenalochana' in Dhanyasi and ‘Korinavaramosagu' in Ramapriya. After an elaborate alapana of Kiravani, replete with raga bhava, he played ‘Nee Charanaambhujamunu' by G.N. Balasubramaniam. ‘Kelano Hari Thaalano' and the Dhanashree thillana took care of the lighter session. Mysore Shiva Shankar's soft and distinct mridangam enhanced the performance in an unobtrusive manner.
