Promising young talent Anoop Krishnan charmed rasikas with his pliable briga-laden voice and strict adherence to padanthara at a concert in Palakkad. organised by Palghat Fine Arts Society. The musician also won hearts by including rare ragas and compositions in his repertoire.
Anoop began the recital with a salutation to Lord Ganesa, ‘Suklambaradharam’, in Thodi. He then tagged it to a rare composition of Mysore Chamaraja Udayar, ‘Gajananam Ganapathi’, set to Misra Jhampa Tala, which was garnished with crisp swaraprasthara. Anoop brought out the ragabhava in an alapana of Sreeraga.
A rendition of Dikshitar’s ‘Sri Varalakshmi Namastubhyam’, set to Roopaka tala, showcased the rhythmic richness of the composition and the underlying sahithyabhava in the piece. The manner in which Anoop handled Panthuvarali, stressing the tharasthayi phrasings with consummate ease and grace for Tyagaraja’s not-so-commonly-heard ‘Narada muni vedalina’ stood testimony to his stringent sadhana. A pleasing niraval and kalpanaswara at ‘Narayana namasmarana’ was preceded by a lively piece of Mysore Sadasiva Rao in Adhana, ‘Vachama Gochara Me’.
The highlight of the concert was an exhaustive elaboration of Charukesi and the majestic Swati kriti ‘Kripaya palaya saure’ ‘ set to Misra chappu tala. Interesting niraval and manodharmaswara at the lyrical sequence ‘Naradamukhamuni....’ was followed by a brilliant tani.
Adept in the grammar of Carnatic music, Anoop impressed music buffs with a complex ragam-tanam-pallavi in Kapi. The pallavi ‘Maravakave sada brovave Kamakshi....’, set to Adi tala and ragamalika swarakalpana were, however, a little bit hurried due to constraint in time. Anoop wound the concert up with ‘Gayou Sreegouri...’, on goddess Chamundi. Anoop was accompanied by Kodampally Gopakumar on the violin, Palakkad Aravind on the mridangam and Vellinezhy Ramesh on the morsing.
The concert was organised by Palghat Fine Arts Society.
