In an event titled ‘Swaramala,’ Powai Fine Arts, Mumbai, hosted two Carnatic vocal concerts back to back at the Nahar International School, Chandivili. The first segment was slotted for Shweta and Ramya, singing sisters from Chennai. Beginning with a Khamas Varnam, they moved to ‘Tulasidala’ in Mayamalavagowla followed by Dikshitar’s ‘Purahara Nandana’ in Hamirkalyani. Melodic alapana in Kharaharapriya set the pace for ‘Rama Madhura.’ ‘Sri Jagadambikaye’ in Latangi was yet another proof of the training and coordinated preparation.
A detailed Todi alapana, intelligent and interesting at once was the prelude for ‘Enduku Dayaradura’ of Tyagaraja. This was the main piece in a concise concert of 90 minutes. Expressive ‘Muddugare Yasoda’ in Kurinji, Aadi talam was the concluding crowning number. R. Mukund on the violin and Mumbai Shankaranarayanan on mridangam were extremely supportive to the young singers.
“It was our first concert in Mumbai, a great experience. We got good exposure and brilliant support from the accompanying artistes and audience as well. It was not easy preparing the concert list as we had to keep an enthusiastic and an informed audience in mind, that too in Mumbai for the first time,” said the singers in unison.
The second segment featured Sikkil Gurucharan, accompanied by V. Sanjeev on the violin and R. Sankaranarayanan on the mridangam. Varnam in Begada was the opening piece followed by ‘Anumane Swamikinda’ in Malayamarutham. ‘Giripriyam Gangadharam’ in Kadanakuthuhalam in a faster tempo was cheerful in rendition. Detailed raga alapana in Vasanta by the vocalist was matched with equally excellent notes on the violin. ‘Sri Kamakshi Katakshi,’ composed by Tiruvarur Ramaswamy Pillai was a homage to Sri Jayendra Saraswati Swamigal, who attained Samadhi recently. The niraval in ‘Sri Kamakshi Katakshi’ was full of verve.
Sikkil Gurucharan
Aptly selected
Dikshitar’s ‘Divakara Tanujam’ in Yadukulakhambodi was a suitably chosen dedication, it being Saturday, with Gurucharan drawing a musical description of Sanaischara Sani bhagwan in a leisurely delineation. RTP in Kharahapriya was a study in structured singing, the Thanam by Sanjeev was outstanding and ‘Rama Nee’ followed like a river in full spate. Thani avartanam by the sole percussion rained modulated beats with decibel variations.
Chelinetlu, Javali in Paras was a sprightly piece contrasting with the melting Virutham ‘Vizhiku Thunai.’ “Bhaja re Gurunatham,” a bhajan composed by Jayendra Saraswati Swamigal on Mahaperiyava, painted the divine Kamakoti roopam, transporting the listeners to a serene sublimity. Voice and diction clarity, confidence in alapana, effortless reach of high octaves, were the hall mark of the singer. “Violin is a tough job and the violinist does not get respite except during the thani. Besides mirroring the vocalist, the violinist has to play on his own to add to the concert,” said Sikkil, complimenting V Sanjeev.
