The vocal concert of V.R. Dileep Kumar for Sarvani Sangeetha Sabha, showcased the vocalist's commendable manodharma. In fact, till Dileep Kumar set the alapana of Nasikabhooshani, the concert was a bit languid.
The raga essay made the listener sit up. The powerful akaras, smooth glides and daring trajectories spoke of the artist's understanding of the classical idiom. ‘Maravari Ramani' and the swaras added towards the end were prominent. The vivadi swaras were handled strongly.
The varnam ‘Era Napai' in Thodi, ‘Meru Samana' in Mayamalavagowla and ‘Brovavamma' in Nilambari and even the generally brisk ‘Sarsijinabha Sodari' in Nagagandhari, after Nasikabhooshani, was presented in a laid-back fashion.
Innovative touches
The raga exposition of Kharaharapriya was energetic. Here, the singer's approach was traditional and innovative. His recital worked on several levels, exposing the various hues and tones of the raga quite impressively without any exaggeration. His voice may not carry magic. But his musical vision brought out the magic of the raga, enhancing the overall impact. ‘Chakkani Raja' of Tyagaraja was presented with proper feel and the niraval at ‘Kantiki Sundara' once again demonstrated the creative urge and vision of the Kerala-based artist.
The slow and fast swaras were smartly extended and the kuraippu swara strings landed on dhaivatam with perfection. As mentioned earlier, Dileep Kumar, with all his ingenuity and knowledge, should try to balance the tempo of the concert.
Violinist A.G. Venkatasubramanian responded positively in his raga replies and swara sallies.
Shriddhuth, also from Kerala, on the mridangam showed dynamism in his tani and acted as a perfect foil to the vocalist and violinist in the proceedings.
