The maturity of Anahita Ravindran's music is incredible and her pure classical suite belies her age. N. Ravikiran, her guru, should be appreciated for helping her imbibe such qualities. Ramapriya, a sampoorna raga, was delineated with touches that brought out the raga's splendour. K.J. Dileep, another youngster, proved that he too was competent in his engaging reply.
‘Mathangi Sri Raja Rajeswari' (Rupakam-Dikshitar) was rendered with kalpanaswaras bringing out the raga's beauty. Tyagaraja's ‘Yemani Pokaduthura' (Adi-Veeravasantham) was a breather before the main.
Tiruchi G.Aravindh, understanding the natural lilt in the song, played apt patterns. The afternoon's main Saveri, showcased the amount of hard work put in by Anahita.
The raga's vibrant phrases with lengthy sancharas placed appropriately, interspersed with limited brigha-oriented phrases, will surely take this young girl to the upper echelons of the music domain. However she has to pay attention to breath control.
K.J.Dileep‘s counter was effective with tonal sweetness. Sitaramayya's ‘Sri Kamakoti' (Adi) wih niraval in the line ‘Kadamba Vana Nilayay' and a liberal dose of swaras was presented with the ease of a veteran. Accurate in rhythm control, Aravindh's solo deserves special mention.
The second concert belonged to S. ANANTHARAMAN , a young singer from Erode. This boy should be watched, for he shows the promise of making it big in the future. A mature voice with a good bass was a surprise, considering his slight build. Kicking off with the passionately composed Lalgudi varnam in Charukesi, S. Anantharaman then presented ‘Sri Mahaganapathi' (Gowlai-Mishram) with bright kalapanaswaras.
It was heartening when he took up Surati for a brief sketch, and did a good job. Even before K. P. Nandini (violin) could begin her reply, he commenced with the Dikshitar kriti, ‘Balasubrahmanyam' (Adi). ‘Malayamarutham' alapana brought out the inherent talent of both the singer and the violinist.
The kriti, ‘Smaranamondhe' (Dasar-Adi), was embellished with niraval and swaras that were instinctive. Nandini, who is also a performing vocalist, (la Shobhana Rangachari) is blessed with blemishless bowing which is her forte. She did her best to enhance the concert. On the mridangam was another young boy, Akshay Ram. It was a treat to watch him play without any sign of stage fear. He played with confidence and fantastic anticipation, putting the singer at ease. The afternoon's main Varali was lucid. It was preceded by ‘Bhogeendra Sayeenam' (Kuntalavarali-Kandam). Nandini caressed the raga and made it dance!
‘Eti Janmam' (Mishram-Tyagaraja) at the right pace created the right mood. Was a niraval at this point necessary is the question Ananatharaman has to ponder over. It was comforting to see a new morsing player in Sai Subramaniam, for this art does not have many takers. He and Akshay Ram presented an excellent thani.
