Jyotsna and Radhika adopted an earnest approach while T.V.Ramprasad savoured sahitya bhava.
Singing in Balaganamrutham’s mid-season Music Marvel series, Jyotsna and Radhika illustrated that their music holds promise. The sisters’ earnest approach and bent for bhava imparted the ring of truth to alapanas and kriti renditions.
Radhika’s Poorvikalyani delineation benefited from a logical development. A series of short prayogas can sometimes more effectively express the intention behind a longwinded effort, a concept well worth exploring by this young vocalist.
Sangatis projected the reassuring solidity of patanthara in Neelakanta Sivan’s ‘Anandanatamaduvar’ and later in the main piece, Tyagaraja’s ‘Endukupeddala’ (Sankarabharanam). In both krithis, the niraval segments employed chaste pidis to reiterate raga identity and kalpanaswaras were rounded off with simple, crisp korvais.
Jyotsna’s Sankarabharanam alapana held substance and displayed a judicious mix of pidis and free-wheeling sancharas, augmented by sruti-aligned karvais at the tara stahyi shadja.
Kovai Chandran’s violin accompaniment reflected the mood of the compositions. Paucity of time forced Kalyanaraman (mridangam) and Aniruddh Athreya into the briefest of brief tanis that hurried anxiously to the finish.
Listening to T.V.Ramprasad’s vocal recital, one was struck by the thought that this artiste aims not to dazzle but to savour and to draw the listener into that process - an approach that mercifully reduces stress levels of both artiste and listener by at least fifty percent by freeing them from the frenzied applause trap. The outcome was a calming experience.
With the esoteric appeal of the Swati Tirunal varnam ‘Suma Saayaka’ (Karnataka Kapi) casting its spell in the opening piece, the vocalist highlighted compositional intricacies. Tyagaraja’s ‘Chaalakallalaadu’(Arabhi) broke the ice with a madhyamakala lilt and sarvalaghu swaras that found their mark.
The artiste savoured and shared the delights of sahitya bhava, especially so at a point in the anupallavi where the impetus of sangatis slowed to focus on ‘Kalyanarama.’
The Simhendramadhyamam exposition steered clear of formula and touched upon salient features with grace.
In the kriti ‘Nathajana,’ voice and violin explored promising avenues in niraval and kalpanaswaras, the violinist’s summation carrying relevance and fluency.
The main Harikhambodi alapana took shape with ripe prayogas. The leisurely ambit of the panchama suite emphasised raga swaroopa as did the unhurried treatment of Tyagaraja’s ‘Dinamanivamsa.’
V.V. Srinivasa Rao (violin) found favour through flashes of perception in Harikhambodi.
Melakkaveri Balaji’s emphatic percussive support on the mridangam was complemented by N. Guruprasad’s playing on the ghatam.