When a powerful voice, resonating strings and robust percussion come together, it is magic on stage. That was the experience at the concert of nonagenarian R.K. Srikantan with N. Ravikiran on chitravina, Srimushnam Raja Rao on the mridangam and Sri Sundarkumar on the kanjira.
Beginning with the Thodi Ata tala varnam ‘Kanakangi,’ the concert was set on a firm ground. ‘Gam Ganapate’ in the raga Durvanki followed. Srikantan includes this composition of Jayachamarajendra Wodeyar, set to tisra triputa, in his concerts quite often.
After brief raga essay of Hamsadhwani by Srikantan followed by his son and disciple R.S. Ramakanth, Ravikiran presented a brilliant face of the raga with a few phrases. ‘Jaya Mahishasura Mardhini’ of Harikesanallur Muthiah Bhagavathar was the kriti and the madhyamakala swaras with sparkling strokes from the percussionists, was a delight to the listeners’ ears.
Srikantan chose to sing a short sketch of Bahudari followed by Tyagaraja's ‘Brova Bharama’ in the section for the popular item of the concert. Ravikiran, who was playing the modern version of his chitravina on that day, followed faithfully when the senior vidwan sang, and sprinkled mildly flavoured notes, filling the spaces subtly.
The fast number ‘Paluku Kanta’ in Navarasa Kannada followed. One could feel the grace and resonance of a temple bell in the voice of the artist even in dhurita kala phrases.
A royal Bhairavi raga alapana was the highlight of the day. The exquisite handling of the dhaivatas proved the virtuosity of the maestros. Ramakanth, lending vocal support, has a knack of getting back to stream quickly from the occasional deviations.
Ravikiran played like a co-artist at times and an accompanist at others. He balanced his bubbling vidwat and sharing the dais with a senior vidwan, with humility.
‘Balam Gopalam’ of Mysore Vasudevacharya in Bhairavi is another composition one gets to listen to rarely these days. The kalpanaswaras spanning the octaves spread the blanket space for a grand thani avarthanam. Sri Sundarkumar carried along well with Srimushnam Raja Rao during the entire concert.
With maestros, tukkadas are never light pieces but are treated with a feather touch to ease the ears. Srikantan chose ‘Noduvude Kannu’ in Abheri, a composition of Purandaradasa for the post-thani session and ended the concert.
