A reverberating voice, ‘sruti sudha,’ and a deep insight into the grammar of Carnatic music enabled young vocalist Hari Agnisarman Kappiyoor to present an impressive concert in Palakkad.
Thiruvattiyur Thyagayya’s varnam ‘Ento Premato’ in Surutti, succeeded by Muthuswami Dikshitar’s Begada raga kriti ‘Vallabha Nayakasya’ and ‘Jaya jaya Janaki Kantha’ (Natta-Purandaradasa), were apt pieces for the opening slot. A brief but delightful sketch of Bilahari suffixed with the Papanasam Sivan composition ‘Karpakambige,’ ensured the smooth flow of the recital. ‘Nannu vitachi’ (Reethigowla- Tyagaraja) was a graceful presentation in vilambakala, though the charanam with the mudra of the composer was not rendered. In contrast, ‘Sarasasaamadaana,’ another kriti of Tyagaraja in Kapinarayani, was a fast-paced one.
Thodi, the main raga of the evening, was analysed in depth with intricate and lengthy kaarvais. It was a good alapana that captured the entire raga swaroopa. While rendering the popular kriti of Papanasam Sivan, ‘Karthikeya Gangeya,’ Hari showcased his acute sense of sahitya. The orthodox niraval and energetic swara combinations earned spontaneous applause.
Anandabhairavi was the raga chosen for RTP. The melodious sancharas in the raga delineation and the gradual development of thanam revealed the beauty of the raga. However, one felt that there was more scope for elucidation of the raga. The portrayal of the pallavi ‘Eeesa Jagadeesa Vaatalayesa Mampahi Sadha’ in Sankeerna jaathi, Triputa tala (tisra nadai) testified the vocalist’s command over laya. But he chose only Sahana and Saveri for the swaras. One felt he could have rendered a few more ragas and devoted more time to RTP. He seemed to be in a hurry to finish the concert as he presented just two items in the concluding session, ‘Pahi Pahi Jaganmohana Krishna’ in Naadanamakriya and a thillana in Kamas. Also, a concert is complete only when one or two ‘Pratimadhyama’ kritis are included; Hari did not render a single such kriti.
Thiruvizha Viju S. Anand’s violin accompaniment was outstanding. Palakkad Maheshkumar displayed his expertise and craftsmanship in his superb mridangam accompaniment. His tani in Adi tala was marked by gentle and subtle beats. He was wonderfully supported by Vazhappally Krishnakumar on the ghatam. The performance was organised by Palghat Fine Arts Society, Tharekkad.
