It was rhythm raining and reigning. What else can you expect when the veteran Srimushnam Raja Rao is around? In support and in thani, he just stood out. It was indeed his day. He reminded one of Palghat and Palani. No doubt, the very quality of the concert of R. Suryaprakash was enhanced by the mridangam maestro. The highlight was, of course, ‘O Rangasayee’ of Saint Tygaraja - an apt selection on Vaikunta Ekadasi. His Khambodi alapana was expansive. He didn’t leave out a single sanchara of this Stately tune. B. Raghavendra Rao on the violin also brought out its majestic essence. The niraval and swaras were at ‘Bhooloka Vaikunta.’ In the kalpanaswaras, the anticipation of Raja Rao was splendid. Then arrived the thani.
Raja Rao started with ultra-soft touches and slowly it gained momentum and decibels. He produced several permutations and combinations. At times the mridangam roared like a lion. It was all musical to the core. The Mohra and the concluding korvai were a marvel. K.V. Gopalakrishnan on the ganjira too rose to the occasion and produced a few splendid patterns.
The Brindavana Saranga masterpiece of Dikshitar, ‘Soundararajam’ in Rupakam was also very well rendered by Suryaprakash after an appropriate viruttham. Of course DKP and DKJ were the ones who made this kriti popular.
The concert opened with the Abhogi varnam, along with kalpanaswaras. It was followed by the Thiruppavai, ‘Sitranjirukale.’
Suryaprakash offered a lovely exposition of Shanmukhapriya and Raghavendra Rao produced some rare shades.
Patnam Subramania Iyer’s ‘Marivere’ was the chosen piece. Niraval was at ‘Sannuthaanga.’
He commenced Tyagaraja’s ‘Manavinalakimcharathade’ from the anupallavi. That was a good beginning indeed. Suryaprakash concluded his concert with ‘Venkatachala Nilayam’ and ‘Krishna Mukunda Murare.’
His concert was of a high standard and this critic is certain the Sabha will promote him to the evening slot, in which case he need not have to exceed the time limit as he did in this concert.
