Chitravina The kritis and raga delineations by N. Ravikiran were proof of his vidwat. Uma Krishnaswamy
Chitravina N. Ravikiran commenced the concert, at Sri Parthasarathy Swamy Sabha , with his own sahityam, a varnam in Hindolam and went on to play ‘Vallabha Nayakasya,’ Dikshitar kriti in Begada.
The raga enunciation of Begada, Simhendra Madhyamam, Kedaram and later Kharaharapriya, were all testimony to his vidwat, with the choice of ragas showing his expertise.
For the rasikas
In Simhendramadhyamam he played ‘Needu Charanamule’ as per the audience choice. In Kedaram, he played ‘Gajamukhanujam,’ an Oothukkadu sahityam. By singing the sahityam of this not much heard piece, along with playing, he showed the importance he gives to the lyrics. The grand Kharaharapriya alapana was followed by an equally grand ‘Pakkala Nilabati.’ All the niravals and swaraprastaras showcased his rich manodharma, with kanakku in moderation which was pleasing to the ears.
Akkarai Subbalakshmi played her individual versions beautifully. Her accompaniment (and also that of the ghatam - Giridhar Uduppa) was submerged in the sound of the thavil. It seemed to be a poor choice to have thavil-ghatam combination since they did not gel well.
A.K. Pazhanivel is a great thavil player, but he should remember that he is accompanying a gottuvadyam and not Nagaswaram. The tani avartanam was too noisy an affair, with a tad too long avartanams.