G Ravikiran's leisurely approach in presenting raga alapanas as well as the kritis, leads the listener to a state of peace and calmness. He began his concert at The Music Academy with ‘Sourasenesam’ in Sourasena, 27th raganga raga of Dikshitar's asampurna scheme of raga classification. He sailed gracefully through the kriti and rendered the chittaiswaram after the samashti charanam. And then he chose to add madhyama kala kalpanaswarams to the pallavi lines which came as a forced extension.
A short sketch of Darbar followed by Tyagaraja's ‘Ramabhirama’ emerged as a veritable presentation. His Gamakakriya alapana with ample long karvais was an exquisite depiction of the raga. The vintage version of Dikshitar's ‘Meenakshi memudam dehi’ was rendered in vilambha kalam with kalpanaswaras in the same slow tempo. He sprinkled swaraksharas precisely in the words 'sadaye' and 'shathodari' that were pleasing to the ears.
Swati Tirunal's ‘Bhogeendra sayinam’ in Kuntalavarali came as the fast number. Leading to tisra nadai by Guru Raghavendra on the mridangam in a thin slit before the madhyamakala charanam was noticeable. The rapid swarakalpana at the signature phrase 'Padmanabham' did garner a positive response from the audience. But was it really needed?
Beginning at the thara sthayi phrases, Ravikiran moved across many beautiful and evocative phrases of Bhairavi. The alapana was an impressive exposition of the raga in all its grandeur. A longish tanam revealed his understanding of the raga and its elements. He presented the pallavi lines, 'Sabesanai ennalum maravade - chitsabhaiyil natanamadum' set in Khanda Triputa in 4 kalais, skilfully. He had to limit the trikalam segment as he was already into the finishing phase of the concert. He dived into cursory ragamalika swarams in Varali and Gowla and returned quickly to Bhairavi.
Excessive kalpanaswaras in all the kritis, except the one in Darbar, consumed much time in which he could have presented a couple of post-tani numbers. Ravikiran had to conclude the concert with a two line slokam after the elaborate RTP. Ravikiran's strong point is his lower octave sancharas. Gamakakriya demonstrated it that evening. But he showed this tendency to turn away from the mike, especially while singing in the upper octaves. In the process, some appealing phrases vanished without making a mark.
Vittal Rangan adapted quickly to the variety offered by the vocalist in sangatis and swaras.Guru Raghavendra on the mridangam and K. Ranganathan on the ghatam showed enthusiasm, but they had to rush through their tani. Nevertheless, it was a short and neat one.
