Asthana Vidwan of Kanchi Kamakoti Peetham, vocalist P.V. Subba Rao who had training under Nookala Chinna Satyanarayana, D. Pasupathi and N.S. Srinivasan is today a well-known guru himself. Besides his scholarship, his basic advantage is his soothing but rich vocal quality that aptly suits sahitya of Carnatic compositions. Kalasagaram featured him in a concert held at Viswanathan Memorial Hall, West Marredpally, Secunderabad, last week.
Melodic impact
Subba Rao opened his concert with Saveri varnam Sarasuda in Adi talam with two speed swaras that activated the number to audience delight. This was followed by Maha Viswanatha Iyer’s Sri Mahaganapathe ’in Nata. This was highlighted by swarakalpana. He then sang Diwakarathanujam in Yadukulakambhoji of Dikshitar in Eka talam. This was one of Navagraha kirtanas.
He then chose Siva Sivayanarada of Thyagaraja in Panthuvarali and treated it as his sub-main number. He delineated raga in detail with nuances at chosen places enhancing melodic impact. The kirtana rendition was clear in sahitya expression and the neraval he presented at the charanam Bhagavathula Poshinchi Sri Thyagaraja Sannuthudathadani Yenchi impacted the whole number for its sahitya flavour. The swarakalpana that followed, rounded off the well-presented number.
Chinnanade Naa Cheyi Pattithivi a rarely heard number in rare raga Kalanidhi of Thyagaraja laid base for the main number of the concert Dorakuna Ituvanti Seva in Bilahari. He essayed the raga in all its details etching out some niceties here and there. The kirtana rendition style was methodical build of tempo. This being a popular kirtana his rendition made quick appeal and the nereval line Ramabrahma Thanayudavu Thyagaraju Thaapaaduchu Oochaga was a hit for its reference to Thyagarja family moorings.
The swarakalpana was in the same vein of the impact it made earlier. Srinivasa Gopalan’s Tani avartanam on mridangam had its own share in enhancing the number’s appeal. Violinist Komanduri Souri Rajan leant good support throughout, shadowing the main artiste with occasional interludes displaying his own creative skills.
Subba Rao ended his concert with rare composition of Ramadasu — Ramunivaaramu makemi vicharamu that he himself tuned in Sriragam. The show was concluded with Khamas tillana of Patnam Subramanya Iyer.
