The most palpable thing in Krithika Srinivasan’s concert was enthusiasm. The concert -- chartering an ambitious course of choosing compositions on the rivers Ganga and Cauvery -- was unique for its theme, Ganga-Cauvery Gana Sangama. It brought on to its canvas mighty vaggeyakaras like Tyagaraja to great poets like Kalidasa, Valmiki, to saint-philosophers like Adi Shankara and Vijayadasa upto contemporary poets like H.S. Venkatesh Murthy. The stage, therefore, was set with high aspirations, even before the concert began.
Considering that it was multi-lingual, and many of the compositions were unknown even to a Carnatic music aficionado, it helped that the concert was scripted. Before each composition was rendered, the brief introduction to the idea embodied in it provided an entry point to the listener. It was evident that the concert had been planned with the rigour of not just a hard working musician, but with the perseverance of a researcher.
Kritika is bestowed with a good voice, imbued with strength and felicity. Since she herself is the composer, she exploits this fully and chooses ragas like Ranjani, Shivaranjani, Poorvikalyani and Reetigowla which are intense and can be explored in the higher ranges. While the Carnatic idiom suited most of the songs chosen, it seemed heavy for instance, for H.S. Venkatesh Murthy’s poem. It was not so much the choice of the raga Aarabhi, but the style in which it was deployed. What was missing in the compositions was the notion of silence. Krithika, could have, between stanzas made place for violin improvisation. This would have not only provided relief to the singer but also enriched the idea of manodharma itself. The central piece of the concert was a Tyagaraja composition in Raga Todi. Krithika sang an elaborate alapane and embellished it with swara prasthara, in the traditional Carnatic mode.
The accompanists were Aniruddha Bharadhwaj on the violin and Deepika Srinivasan on the mridanga. Aniruddha proved his mettle both as a sensitive artiste and accompanist. Deepika played with passion and commitment, but it could be tempered by listening to the great masters who played with intensity and restraint.
The concert by this trio of youngsters was indeed a happy occasion. Their interest in the art and hard work is commendable. But classical music which rests on the imagination of the practitioner, is not easily attainable.
One hopes that the three promising musicians nurture their aspirations with care, and attain great heights.
DEEPA GANESH
