Sreevalsan J. Menon’s rendition of Vyasathirtha’s Krishna Nee Begane Baro in Yamuna Kalyani, Mishra Chapu, provided the audience an enthralling experience. While creating a beautiful picture of the raga, Sreevalsan painted a few strokes in the Meera bhajan style.
Sreevalsan seemed to pay homage to his guru, Neyyatinkara Vasudevan, in this splendid interpretation of his favourite kriti. In the alapanam, niraval and manodharma sections, Sreevalsan explored the raga fully, pushing it to its limits, trying new modes of expression. He beckoned Krishna in a variety of ways, sometimes commanding, sometimes pleading. The niraval at the opening line and lovely flourishes were echoed by Idappally Ajith Kumar on the violin. In the musical conversation between the two artistes, Sreevalsan joined in with the violin at times, leading Ajith on to swaraprastharas. The soulful violin passages captured the mood of the raga very well.
Taniavartanam should have been a treat, given that two maestros handled the percussion, Balakrishna Kamath (mridangam) and Vazhappilly Krishnakumar (ghatam). But due to shortage of time, this section was shortened.
Sreevalsan began his recital with the Natakurinji Padavarnam Chalamela Je Se , set to Adi. A special feature of the concert was Tyagaraj’s Pancharatna keertanam Endaro Mahanubhavulu in Sree, Adi, sung with niraval and manodharma swaras. Pantuvarali’s alapanam was slow and methodical; Sreevalsan concentrated more on the manthra sthayi. Sreevalsan sang Raghuvara Nannu Marava , again a Tygaraja kriti, in Pantuvarali, Adi. The invocation of Rama, rama, rama set the devotional mood. Niraval at charanam and volleys between the vocalist and the violinist were truly enjoyable.
M.D. Ramanathan’s kriti Hariyum Haranum (Atana-Rupakam) was a rare treat. Opening alapanam and violin accompaniment gave a slightly different twist to this popular raga. The singer compares the attributes of both Vishnu and Siva, one is ‘Pannagashayanan’ and the other, ‘Pannagabhooshanan’ and the ultimate realisation is that both are one!
Sreevalsan breezed through Swathi kriti Paramapurusha ’ (Vasantha-Adi) with innovative passages at the opening line. He then settled down to a detailed exposition of Todi. His alapanam stayed mainly in the lower octave and was embellished with gamakas. Edappally Ajith’s violin reverberated powerfully as he drew forth the karuna rasa associated with the raga. Sreevalsan chose Dikshitar kriti Srikrishnam Bhaja Manasa ’, set to Adi.
The recital closed with a bhajan, Appane Ayyapane Malayappane in Nathanamakriya, set to Adi. The concert was part of the Swaralaya Samanwaya Festival held in Palakkad.
