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Updated: September 12, 2013 15:08 IST

Rendered with finesse

T. K. Ganapathy
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Raghav Krishna. Photo: Nivedha Sekar
The Hindu
Raghav Krishna. Photo: Nivedha Sekar

Skilful modulation and effective voice control marked the concert of Raghav Krishna.

Aided by a good saareeram, Raghav Krishna’s tender and sedative sensibilities equalled by his good patanthara and consummate harmonisation added colour and aesthetic finesse to the renditions in his kutcheri, featured by Nadabrahmagana Sabha in Vanaprastha, Coimbatore. His frisky start of the Nattai varnam, ‘Navalokanayakiye’ followed by ‘Gam Ganapathe’ (Hamsadhwani) with skilful modulation of voice were both animated versions.

Elegant Bilahari alapana marked by felicity of flow of sancharas with reliable twists and turns for the kriti, ‘Paridanamichithe’ and the exuberant fervour in the galloping phrasings focused on the elegant Saveri for the kriti, ‘Sree Kamakoti Peetasthithe’ were exquisite. The graphic presentations revealed how Raghva Krishna internalised the inner core and fertilised it by intense saadhakam.

Aural treat

Raghav Krishna’s voice control in the long rests on the madhyama, panchama and in the fast brigha-oriented passages was an aural treat. His sense of sahithya bhava evident in ‘Mamavasadha Varadhe’ (Nattakurinji) and ‘Thaye Thripurasundari’ (Suddhasaveri) created a serene tranquil mood.

Swaminathan (violin) followed the vocalist with aplomb in his solo versions and swara forays. Prakash (mridangam) lent distinctive support in the laya wing embellishing the songs. The mesmerised rasikas could exclaim, heard melodies are sweet but those unheard are sweeter still. The artist has a bright future and he is destined to go places.

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