Both eminent and emerging artists shared the same platform to present a rich repertoire during the September season of Carnatic music and dance, organised by Rajalakshmi Fine Arts, that took place recently at Sarojini Nataraj Auditorium, Coimbatore.
T.M.Krishna ’s concert was a mixed fare. His opening piece, Dikshitar’s ‘Amba Neelayadakshi’ was an intellectually stimulating exercise, attempted with swift swara exchanges with the violinist. The following RTP ‘Pradhanamanadhu Manidhaneyam’ in Begada set to khanda triputa with raga sancharas of Hamirkalyani, Anandabhairavi and Kalyani showed his vidwat. After commencing with the Varali alapana, he directed the violinist to sketch the contours of the raga for the kriti, ‘Kamakshi Bangaru Nannubrovave,’ and followed it up with effective raga phrases.
The tukkadas included a Tulsidas bhajan and ‘Allahvai Naam Thozhudhaal’ (Behag) popularised by Nagoor Meeran. H.N. Bhaskar’s violin, Balaji’s mridangam and Purushothaman’s ganjira enhanced the concert.
ArunaSairam ’s rendition of the compositions popularised by M.S., DKP, MLV, Brinda, N.C. Vasanthakokilam and GNB, evoked memories. Her package also included Oothukkadu compositions and an abhang. Vittal Ramamurthy (violin), Vaidyanathan (mridangam) and Murali (ghatam) provided able support.
Bombay Jayashri ’s thematic session - moments of divinity in the lives of composers - provided a serene edge to the ragas and kirtanas. Her raga vinyasam of Purvikalyani (‘Meenakshimemudham’) was melodic. The RTP in Shanmukhapriya gliding through the octaves was well-embellished and eloquent.
With raga essays rich in bhava, Embar Kannan’s violin play lingered long in the minds of the discerning rasikas. Vaidyanathan (mridangam) and Purushothaman (ganjira) gave adequate support.
A.K.C. Natarajan’s clarionet performance regaled the audience in the morning session on the penultimate day. The annual music festival culminated in a power-packed performance by Sanjay Subramanian . He began with an impressive Kedaram varnam rendered in two speeds followed by ‘Sivachidambarame Darisika Maname’ in Nagaswarali and ‘Kanu Konu Sowkyama’ (Nayaki). His alapanas of Chenchukhambodi (‘Vararagalaya’) and Thodi (‘Munnuravana’) displayed his musical prowess.
The RTP in Sriranjani with the pallavi ‘Pennmaye Sakthiyada Adhai Vanangum Perumaye Buddhiyada’ with raga sancharas in Hamirkalyani, Kannada and Purvi was proof of his impeccable vidwat and manodharma.
Varadarajan’s solo versions on the violin were pleasant. Venkatesh (mridangam) and Radhakrishnan (ghatam) displayed their laya skills.
In the junior slot, Ashwath Narayan (vocal) and Jayanth (flute) stole the show. While Ashwath’s manodharma stood out in his raga and swara delineations, Apoorva Krishna’s violin play was sedate and supportive and Sumesh Narayan stood out with his energetic beats on the mridangam.
Jayanth (flute) showcased his expertise through his soulful rendition. His Khambodi alapana for the kriti ‘O! Rangasayee’ was engaging. Krishna Prasad (violin) and Narayan (mridangam) lent ample support.
(The first part of this review was published last week (Sept. 16).
