The objective of Shanmukhapriya’s Amruthadhwani Isai Vizha is to promote budding artists. The seven-day programme in Chennai presented 14 vocalists.
C.R. Vaidyanathan exuded confidence. Supple voice was his strength. Skilfully blended phrases of Nasikabhushani formed the prelude to Tyagaraja’s ‘Maravairi Ramani’. Vaidyanathan concentrated more on Begada and Saveri to showcase his flair. The Begada led to Subbaraya Sastri’s ‘Sankari Neeve’ with ‘Kanakathrisa Danadeena’ chosen for niraval and swaras. Saveri’s detailing and Tyagaraja’s ‘Inta Thamasamaite’ came as the core piece.
Vaidyanathan’s alapanas followed karvais. There were fast-rolling phrases as well as staccato ones. Certain hasty passages could have been structured better in the two raga essays, especially in Saveri, which shines if handled at a leisurely pace. R. Raghul’s (violin) competence was evident throughout in his responses to ragas and swaras. N.C. Bharadwaj’s mridangam was sonorous and crisp in the company of Nerkunam S Sankar (ganjira).
Young Prithvi Harish’s voice is yet to gain maturity. But, his concept of presentation was commendable.
However, the voice sometimes gave way in the upper registers. His expositions of Darbar (Tyagaraja’s ‘Ramabhirama’) and Pantuvarali (Tyagaraja’s ‘Saramegani’) showed his deference but they sounded on many instances like classroom practice. Spontaneity was elusive in raga alapana and swaras.
Prithivi’s niraval and swaras on ‘Samagana Loludai’ in Saramegani, and Darbar carried flashes of dynamism. ‘Karpaga Manohara’ in Malayamarutham (Sivan), ‘Srikanthani’ in Bhavapriya (Tyagaraja) and ‘Sri Swaminathaya’ in Khamas (Dikshitar) were part of his repertoire.
Ramnath Venkat Bhagavat’s raga and kriti choices were pleasing. His pliant, soft voice lent an edge to the ragas such as Mohana Kalyani, Vasantha, Charukesi and Hemavati. ‘Siddhivinayakam’ in Mohana Kalyani (Muthiah Bhagavathar) was the opening piece ‘Ramachandram Bhavayami’ in vivacious Vasantha (Muthuswami Diskhitar). Ramnath gave a brief picture of Vasantha, dwelling a little more on Charukesi and ‘Aadamodigalada’ (Tyagaraja). Hemavati unfolded with all its exquisiteness. Dikshitar’s ‘Sri Kanthimathim’ moved on an adequately leisurely pace segued to poignant niraval and swaras in the pallavi. The panchama-centred swara section and the kuraippu notes were well conceived. Ramnath should present his phrases more firmly with a stronger vocal articulation to create a greater impact. On the violin, M. Srikanth brought out fine interpretations of Charukesi and Hemavati. R. Ramkumar on the mridangam established his presence with clear pace.
Bhavya Hari is a promising vocalist, who is blessed with a voice that has a sweet tenor. She designed her concert with interesting kritis and ragas. GNB’s exquisite Andolika varnam ‘Nee daya rada’ gave a good start.
She preferred to offer compositions which are not so frequently heard on the concert platform. So it was ‘Ganapathey Mahamathey’ in Kalyani of Muthuswami Dikshitar, followed by ‘Sanatana Paramapavana’ in Phalamanjari of Tyagaraja, ‘Athisayavaraprasadini’ in Mandari by Muthiah Bhagavatar and ‘Nadadina mata’ in Janaranjani. Mandari was presented through well-drawn contours.
Bhavya’s voice traverses across the octaves. The main course was Karaharapriya, where Bhavya selected the choicest phrases so that the raga’s image emerged in flying colours. Sivan’s ‘Janaki pathe’ and the niraval and swaras on ‘Saroruha charana’ established her musical vision.
The closing section had Kanthar Anubhuti appended with a Thiruppugazh in Nalinakanti and a Meera bhajan. Shraddha Ravindran on the violin was quite commanding in her raga and swara versions. Thillaisthanam R. Suriyanarayanan on the mridangam gave lively percussion support.
