Sriram Parasuram and Anuradha Sriram are commendable for their imagination and expertise
Shriram Parashuram and Anuradha Sriram presented an interesting confluence of Hindustani and styles of music (SPVGMC Trust). Mattur Shrinidhi (violin), B. Ravishankar (mridanga), Umakant Puranik (harmonium) and Gurumurthy Vaidya (tabla) accompanied.
Both the versatile artistes, with remarkable imagination and expertise, held the audience under their sway creating curiosities every moment and movement. The subtleties with which they evolved the personalities of the ragas either of Dakshinadi or of Uttaradi, deserved applauses for the accuracy and smoothness one could mark at every transition.
Patnam’s “Evaribodha” in Abhogi sung with all the purity of the style later paved way for a cheez, “Laaj Rakho”, in the same rag, which once again carried its uniqueness in method of rendition and development.
The badhath mainly followed madhya and drut layas. Swara-embellishments performed attractive roles in the varna, and similarly they beautified both the sthayi and antara sections of the cheez. Nevertheless, both the varna and the bandhish appeared overdosed with such embellishments.
Achieving synchronisation between male and the female voices was another challenging feat, which they materialised satisfactorily, though not always to the best satisfaction. Dikshitar’s “Vathapi Ganapathim” (Hamsadhwani) was one such number, which they sang together, and the swarakalpana section found them in alternation.
“Ganapathi Vighna Gajanana” (Hamsadhwani) in North Indian style corresponded with the above composition. Brisk boltans and bolupajs rendered this presentation scholarly. Devotional expressions emanating from Anuradha Sriram and rich and resonating voice of Sriram, merging with each other, emerged as a comprehensive whole.
A shringara- rich tappa (“Miya Nazara Nahi”) in Kapi thrived on characteristic Zamzamas. Anuradha was comfortable in aligning with the shruti when she was singing in the Hindustani style, but very frequently, she deviated when she was reciting the krithis, and while sustaining her voice in nilugades (in Carnatic style) for the desired length.
With all the innovative features, the concert could not fully quench the thirst of either a Hindustani fan or a Carnatic connoisseur.
The Carnatic style seemed to influence the Hindustani. Further, they could have made some significant provision for a vilambit expatiation in their concert: without a noticeable slow rendition, Hindustani part lost its charm and weight.
Other highlights comprised “Idubhagya” (Panthuvarali-Purandaradasa), popular dhrut-cheez “Payaliya Jhankar” (Puryadhanashri) and “Marugelara” (Jayantashri - Thyagaraja- with a pleasing tani avarthana, wherein the artistes of both schools artistically and perfectly harmonised). The melody accompanists worked admirably within the available limited sphere.