Hemmige Prashant’s debut concert in Hyderabad impressed with its rich bhava and neat swarakalpana.

Vocalist from Bengaluru, Hemmige Prashant, made his debut in the city’s Carnatic circles at a recital organised by Kalasagaram at Keyes High School, Secunderabad. Endowed with a rich and vibrant voice that captures audience attention instantly, he is also good at sahitya expression; these traits were evident in his concert he gave to the accompaniment of in the company of seasoned accompanists Rajasekhar on violin and S.Aravind on mridangam.

Prashant opened his show with Ata tala varnam Neranammi in Kanada and made impact in his two speed presentation. His repertoire was dominated by Thyagaraja compositions from the first number Raara Maa Intidaka in Asaveri. Not only did he express its sahitya element with the right mood, his swarakalpana too was neat and carried the melody of the raga. A popular number of Thyagaraja Sitamma Mayamma in Vasanta followed wherein Prashant’s rendition style suited the mood of the kirtana, with sweet and clear with devotional element.

His first raga effort of this concert was Ananda Bhairavi that he evolved well projecting its melodic element and mood of the raga as well. He chose to present a rare composition Thyagaraja Yoga Vaibhavam that was well received by the audience. The swarakalpana too was neat. Sitapathe Namanasuna in Khamas was the sub-main number of the concert. It was pleasing number that stole hearts with the sublime presentation of kriti and a neraval at the line ‘Prema Jyothi Napai’. This was followed by neat swarakalpana. Later he presented Sarasijanabha Sodari of Dikshitar in Naga Gandhari.

Prasahant’s main melody of the concert was Simhendramadhyamam for Ninne Nammitinayya and he gave an expansive picture of the raga with implicit details. He developed the raga steadily moving through attractive phrases he built as he moved along the octaves to reach tarasthayi. In the upper octave his vinyasas were praiseworthy and then back in the base his expression was with clarity. This composition Ninne Nammitinayyain Misrachapu talam was rendered with the subdued emotion that the composition deserves and a neraval that accentuated its sahitya appeal. The swarakalpana was indeed a fine exercise taking it to fine climax. The tani avartanam by the mridangist at this stage was impressive.

Violinist Rajasekhar added his own might in raga swara presentations elevating the numbers’ impact. Later he presented a viruttham in raga chain comprised of Dwijavanthi, Desh, Kapi, Natakuranji and Sindhubhairavi. Maayammayani in Ahiri of Shyama Sastry proved a hit as he rendered with leisurely grace. He ended the concert with a popular light number Nan Oru Vilayattu Bommaya.