T.S. Pattabhirama Pandit captured the rasikas’ attention with his honed voice and immaculate style of delivery.
T.S. Pattabhirama Pandit’s vocal recital at the Palghat Fine Arts Society, Tharekkad was noted for its deep aesthetic content. His sonorous voice was conducive to emote and he could connect with the audience through his soulful renditions. His fine rapport with the accompanists created a warm ambience on the stage. Perfect sruti alignment was another favourable feature of the concert.
He made a bright start with the varnam ‘Sarasijanaabha muraare’ of Swati Tirunal in Maayamaalavagowlai, followed by a sprightly ‘Evarani Nirnayanchirira’, a kriti of Tyagaraja in Devamritavarshini. He showed his reverence for tradition in the brilliant alapana of Poorvikalyani. Seasoned violinist T.K.V. Ramanujacharyulu came out with an equally delightful version of the raga. The interpretation of the Swati Tirunal kriti ‘Deva Deva Jagadeeswara’, with a niraval at ‘Daarita mahitha’ in the charanam brought nostalgic memories of the vocalist’s illustrious guru K.V. Narayanaswamy (KVN).
Muthuswamy Dikshitar’s appealing composition ‘Thyagaraja yoga vaibhavam’ in Anandabhairavi was presented in a leisurely pace with great bhava, in the typical style of KVN. The delineation of Khamas, with emphasis on the jeeva swaras, was a magnificent treat for the audience. The kriti was Vasudevachar’s magnum opus ‘Brocheva’. While the niraval at ‘Aathuramuga’ was good, it was not technically perfect, as the sahitya passages were not in unison with the thaalam.
‘Bhogeendra Saayinam’ (Kuntalavaraali – Swati Tirunal), coming after the taniavarthanam, was refreshing. Taking up Keeravaani for the ragam, tanam and pallavi, Pattabhirama etched the raga in all its charm. The enchanting tanam enhanced its appeal. The simple pallavi ‘Madhava Sodari Sundari Manonmani Keeravani’ was presented with commendable proficiency. Singing in ragamalika format, he delivered the pallavi in delectable strains of Bhairavi, Kalyani, Neelambari, Sivaranjani and the rare raga Bhavaani, (janya of the 44th order).
Displaying maturity, H.S. Sudhindra on the mridangam was highly supportive, with his gentle touches.
Vellattanjur Sreejith gave ample evidence of his prowess in handling the ghatam. The duo’s zestful tani earned them laurels.