Two concerts by Sangita Kalanidhis, vidushis R. Vedavalli and A. Kanyakumari were held at the Sivaswamy Auditorium, Fine Arts Society (FAS) Chembur, in memory of the late S.U. Sitaram, who was part of FAS.
Delivering the introductory speech, Jayanthi Suresh from the FAS committee, spoke about R Vedavalli’s expertise in Nachiyar Tirumozhi, lesser-known padams, Sampradaya kritis and more. Janaki Ramakrishnan, president, FAS, felicitated Dr. Prasad, son of Sitaram.
Vedavalli began with ‘Shri Mahaganapathi Ravathumam’ in Gowla. ‘Hari Nee Nendu’ in Karnataka Behag, ‘Nadaloludai,’ ‘Kshitija Ramanam’ in Devagandhari, ‘Emani Matladitivo’ in Todi had the listeners completely involved.
A concise alapana ushered in ‘Shri Rajagopala’ in Saveri. The niraval was ably supplemented by the disciple, Sumitra Vasudev. ‘Amba Nilambari’ was a caressing glide in anandasagaram . ‘Sharanam Sharanam’ in Saurashtram was further embellished by intense violin resonance.
A brilliant RTP in Simhendramadhyamam with Pallavi ‘Rama Guna Seema’ was an exemplary exploration.
‘Aliveni’ in Kurinji was followed by an empathetic viruttam, ‘Oorile Kaani Illai’ that transmitted the yearning of the Azhwar to every listener. ‘Kaana Vendum Laksham Kangal’ in Surutti was a delight. A leisurely ‘Pavamana’ extended the listening pleasure of the audience who wanted more.
“She just hums in low tones the raga she is about to sing, every element and essence of the raga comes through,” says Janaki Ramakrishnan. The guessing game is over even before it starts.
V. Sumithra on vocal support and R. K. Shriramkumar on the violin added value to the veteran’s vocal presentation.
K. Arunprakash on the mridangam and B. S. Purushotham on the ganjira were remarkable, it was literal fireworks in the thani segment.
The concert rendition was a study in lucid enunciation. Traditional syntax, sincerity, simplicity, serene stage presence, lyrical clarity and musical authority: all of them a lesson in Kutcheri padhati for up-and-coming singers.
On the second day, Radhika Ananthkumar of FAS gave the opening speech outlining the achievements of the artiste.
A, Kanyakumari
Kanyakumari began the melodic evening with ‘Chalamela’ varnam in Nattakurinji, went on to ‘Krupajucutaku’ in Chayatarangini and ‘’Paripalayamam’ in Reetigowla.
Next came the Annamacharya kriti in raga Venkatadri, one of the seven ragas composed by Kanyakumari on the seven hills of Tirumala.
Exceptional RTP
Balagopala in Bhairavi and Paratpara in Vachaspati was followed by an exceptional RTP in Hindolam/ Nagaswarali in Adi talam.
Post-RTP, came a cascade of pleasing pieces, ‘Oru Neram Engilum’ in Dwajavanti, ‘Muralidhara Gopala’ and ‘Aarumo Aaval’ in Maand, ‘Jagatjanani’ in Ratipatipriya, ‘Pibare Ramarasam,’ ‘Venkatachalanilayam’, Bhagyada Lakshmi Baramma in Madhyamavati and a Tirupugazh: one masterstroke after another.
Tillana composed by Kanyakumari in raga Sindhubhairavi epitomised her creative genius.
The highlight of the concert was a unique three octave presentation — ‘Tristhayi Sangamam’. The mentor and disciples played with élan, traversing smoothly across octaves. Vittal Rangan and Sai Rakshit, both disciples played almost on par with the guru, not just as support. K. V. Prasad on mridangam and Anirudh Athreya on ganjira were perfect partners in percussion, adding tempo to timbre.
