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Invoking past masters
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The scholarly rendition of R.K. Padmanabha mesmerised the audience
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OUTSTANDING PERFORMANCE Padmanabha’s rendition of raga, tana in Madhyamavati was brilliant
R.K. Padmanabha sang at the Sri Kannika Parameshwari temple for the 43rd Nadajyothi music festival being held under the aegis of Nadajyothi Sri Thyagaraja Bhajana Sabha. The impressive concert began with a Kanakadasa pada “Ee siriya nimbi”
; he regaled the audience with his detailed treatment of an exacting raga Nasikabhushini (“Nasamani”) for Dikshitar’s “Sri Ramaa Saraswathi” attached with neraval and swaras. “Anta rangadalli Hariya Pooje” and “Soma Sundareshwaram bhajeham” (Shuddha Vasantha) in a dancing laya established an intimate rapport with the rasikas. In the singing of raga and tana in Madhyamavathi he shone like a genius and the neraval and swaras for “Bhaama mani Sri Janaki” was a classic exercise. The taana seemed to be his patent. R.K. Sriramakumar (violin), C. Cheluvaraju (mridanga) and Dayananda Mohithe (ghata) were in their elements in imparting a laudable support. Padmanabha’s disciples Gowrish and Krishnaprasad gave a notable vocal support.
*****
Perhaps the only reigning woman-ghata-accompanist Sukanya Ramgopal has come out of her limited role as a secondary accompanist by evolving and exploring new possibilities. Her ghata tarang has been drawing positive responses from the rasikas. She has the accompaniments of violin, veena, flute, mridanga, morsing etc. The packed audience enjoyed every bit of the programme when Sukanya led a posse of accompanists comprising Jyotsna Manjunath (violin), K.U. Madhura (flute), J. Yogavandana (veena), Ranjani Venkatesh (mridanga) and Bhagyalakshmi M. Krishna (morsing) on the fourth day of the Nadajyothi festival.
The rendition of “Mahaganapathim” (Nata) with swaras and notes in Kuntalavarali stunned the lovers of music. Valachi (alapana in veena) presented in the fashion of lehera of Hindustani music was a beauty by itself. Raga and tana in Amrithavarshini attached with kalpanaswaras brought out the latent talents of the artistes of the dais.
*****
On the day seven, Shashikiran and Ganesh, well known as Carnatic Brothers created a delightful cascade of Carnatic music. Well-honed talent, perfect understanding, matching manodharmas, seasoned artistry and an impressive concert craft won for them laurels.
Though the high decibel was a stumbling block, the young singers brought into limelight the beauty of Carnatic music through their presentations.
Opening with a GNB varna in Andholika raga, the execution of “Jaya Jaya Janakikantha”, “Vinatasuta vahana” (Jayanthasena), Sarasamukhi was full of musical values.
Aptly accompanied by Dr. Jyotsna Srikanth (violin), H.S. Sudheendra (mridanga) and M.A. Krishnamurthy (ghata) Shashikanth and Ganesh excelled in the delineation of Lalitha (“Hiranmayeem”) and Anandabhairavi (“Marivere gathi”) respectively. Raga, tana and pallavi (“Darushana vaayithu” ) set to Chakravaka was the highlight of their duet. Tanamalika was the crowning glory of the concert and Shashikiran’s Guhamanohari deserved a special mention.
C. Ramdas (harmonium), M. Kodandaram (nagaswara) and T.S. Vasanthamadhavi (vocal) were honoured with Kala Jyothi titles on the valedictory day. Young mridangist H.S. Sudheendra was presented with Nadajyothi Puraskara.
The Nadajyothi festival concluded with an auspicious and melodious nagaswara recital by M. Kodandaram and B.S. Ramesh in which they rendered Hindola (“Govardhana”), Todi (“Dachukova”) and Amritha Varshini (“Anandamrithakarshini”).
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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