Strict adherence to sruthi and technical perfection coupled with rigorous training under music scholar C.S. Krishna Iyer have made Ambikapuram G.K. Sivaraman a complete musician. His vocal recital at the Palghat Fine Arts Society, Tharekkad, bore ample testimony to his musical acumen.
Endowed with a reverberating voice, he presented a wholesome fare, consisting of numerous appealing kritis. The rapport among all the artistes on the stage enriched the impact of the concert.
Swati Tirunal’s ‘Sarasijanabha’ in Kamboji in Ada tala is an ideal varnam to begin a recital and Sivaraman presented it beautifully. The next items, ‘Ninne Bhajanaseyu’ (Nattai –Tyagaraja) and ‘Paramapaavani’ (Atana – Annaswamy Sastri), rendered with bhava, ensured that the concert proceeded smoothly on well oiled wheels.
The vocalist’s traditional approach was clearly visible in his classical alapanas of Reethigowla and Vaachaspathi, both of which were sprinkled with enchanting sangathis, without a trace of flashy ornamentation. His interpretation of the respective kritis – ‘Ragaratnamaalikache’ (Tyagaraja) and ‘Ennaaduneekripa’ (Patnam Subramanya Iyer) – left an indelible mark.
Poorvikalyani was elaborated with full-bodied prayogas, covering all the facets of the raga. The vocalist displayed his sharp ‘sahitya bhava’ in his admirable portrayal of Muthuswamy Dikshitar’s famous kriti ‘Meenakshi me mudham’. The lively niraval and swift swaraprastharas at ‘Madurapuri nilaye’ enraptured the listeners. The leisurely pace of the Kshetragna padam ‘Adhavaaruniki’ (Sahana) and the high speed of ‘Bantureethi kolu’ (Hamsanaadam – Tyagaraja) provided a shining contrast.
Taking up Sankarabharanam as the main raga, Sivaraman focussed on the characteristic subtleties of the raga. His descriptive delineation leading to a crescendo at the shadjam and other swaras in the upper octave was superb. It was a pleasure to listen to ‘Akshayalinga vibho’, one of the great classics of Dikshitar. The feisty niraval and crisp kalpanaswaras at the charanam ‘Badarivana mule’- particularly those revolving around “ga” lent a unique charm to the rendition.
Veteran Kovai Balasubramanian’s violin accompaniment was top class. His melodious raga essays and swaraprastharas were marked by tonal excellence. Kovai Prakash (mridangam) showcased his acute sense of laya in his brilliant display. Attingal M.R. Madhu proved his competency in playing the ghatam. The special feature of their tani in Misra chapu taala was the intelligent conversion from ‘thisram’ to ‘chatusram’.
