The annual Sree Rama Navami Music Festival, at the Ramadhyana Madom, Kalpathy, began with a vocal recital by PK Seshadreeswaran.
PK Seshadreeswaran
He chose to render some well-known compositions of Tyagaraja, such as Raagasudha (Andholika), Seethamma (Vasantha), and Sukhi Evvaro (Kaanada). An interesting chittaswaram, sprightly niraval and swaraprastharas in the famous kriti Mariverethikkevvaru (Latangi – Patnam Subramanya Iyer) were remarkable. Innovative sangatis in the delineation of Kharaharapriya, followed by Tyagaraja’s magnum opus Chakkani Raja, which was embellished with imaginative sangatis and swara patterns, were the high point of the concert. R Swaminathan (violin), playing delightfully in the Parur style, was supported by K Parameswaran (mridangam) and EM Deepu (ghatam).
Ambikapuram Sivaraman
On the second day, Ambikapuram Sivaraman began with a Thodi varnam Aeranapai followed by Raghunayaka (Hamsadhwani, Tyagaraja). He presented a sweet sketch of Huseni, suffixing it with the Tyagaraja kriti Aemani Veginthune .
Dikshitar’s lovely piece Sree Ramam Ravikulabdhi in Narayanagowla was a forerunner to the main raga Kapi, which was analysed stage by stage. Violinist Sindhu responded with a marvellous picture of the same. Kallekulangara Unnikrishnan’s soft and subtle support on the mridangam was a plus point.
Evoked nostalgia
Palghat Ramprasad’s style brought evoked memories of the legend Ariyakkudi. The elegant Ada tala varnam Viribhoni in Bhairavi and a devout Ennaganu (Pantuvarali), appended with a fast-paced niraval and kalpana swaras, provided a solid base to the concert. A grand picture of Darbar, a swift Ramanukku mannan (Hindolam, Arunachala Kavi) and a splendid niraval and copious flow of swaras in Nathupai (Madhyamavathi, Tyagaraja) strengthened the tempo.
Palghat Ramprasad
He then embarked on a breathtaking presentation of Begada. Taking up the Tyagaraja kriti Lokavana chathura , he sparkled in a brilliant niraval and swaraprastharas. Trivandrum Sampath’s violin accompaniment was outstanding. Trichur Narendran (mridangam) and Guruprasanna (gangira) displayed their deft playing.
Kottapalli Vandana (vocal), KV Krishna (violin) and Kottapalli Ramesh (mridangam), a talented trio from Tirupathi, delighted the listeners with their magnificent performance.
Kottappalli Vandana
A mellifluous voice, vast scholarship and crystal clear diction were the hall marks of Vandana’s recital. Her essay of Mayamalavagowla was soulful. Picking up the Tyagaraja composition Merusamaana , she indulged in a lively niraval and sprightly swaraprastharas. A classical alapana of Varaali, adorned with an array of akaaras and sangathis, brought out the raga swaroopa. The kriti was Shyama Sastri’s Kamakshi Bangaru ; here again, her stylish niraval and swaras were praiseworthy.
Bhairavi brought in a newness to her lucid presentation; aesthestic sancharas added weight. She scaled heights while rendering the famous Dikshitar kriti Balagopala and in the appended niraval and swara combinations. But one could not help feeling that she could have chosen a kriti on Rama as the main piece, to suit the occasion. Violinist KV Krishna stole the hearts of the audience. K Ramesh’s mridangam support was valuable.
Rich repertoire
Sikkil Gurucharan showcased his flair for aesthetics in his exhilarating vocal concert on the concluding day. He connected with the audience right from the starting Navaraga varnam Valachi and kept up the tempo till the end. His engaging alapana of Harikambhoji was suffixed with an exquisite version of Ramanannubrovara (Tyagaraja), adorned with a fine niraval. His choice of Paralogabhaya (Mandari), a rare composition Badalika (Reethigowla) – both Tyagaraja kritis – and Sakalagrihabala (Atana – Purandaradasa) revealed his repertoire.
Sikkil Gurucharan
His delineation of Simhendramadhyamam, interspersed with subtle sangathis and akaaras, was astonishing, though the initial phrases did not reflect the distinct bhava of the raga. Concluding pieces such as Rama Nama tuthi maname , (Desh), Sapasya Kasusalya ( Jonpuri) and Geetarthamu (Surutti) were rich in bhava.
Providing wonderful accompaniment was TH Subrahmanyam (violin), Kamalakar Rao (mridangam) and Tripunithura Radhakrishnan (ghatam).
Rao evoked nostalgia of his illustrious guru, mridangam wizard Palghat Mani Iyer. The programme was organised by Sree Rama Navami Celebration Committee.
