Carnatic music concerts Music

Right choices of compositions

In concert Duddu Radhika, Praveen Godkhindi and M K Pranesh

In concert Duddu Radhika, Praveen Godkhindi and M K Pranesh  


Sri Kartikeya Gana Sabha’s annual music fest concluded with a fine effort by the artistes

As part of its tenth annual music festival Sri Kartikeya Gana Sabha featured vocalist Duddu Radhika on the third day. Her fluidity in renditions, technical finesse, neat pronunciation and vocal clarity found a meeting ground. Backing her classical instincts, Radhika didn’t make any wrong choices in selecting her compositions. Post a quintessential Mahaganapathim and a series of numbers, the vocalist found her feet with Thyagaraja’s Evarimaata Vinnavo in Kambhoji ragam, preceded by an elaborate ragalapana that flowed seamlessly into the composition. The complexity in her neraval at Parama bhakta paradhinudanuchu added a rich texture to the singing. Dikshitar’s fast-paced composition Sarasijanabha Sodari in Naagagandhari ragam with all its spiritual intrigue set the tone for her Ragam-Tanam-Pallavi in Abhogi ragam. A scintillating tanam leading to her pallavi Easwari Jagadiswari Parameswari Devi Mamadhura Meenakshi Satatamu Brovave and subsequently a riveting tani avartanam (by the accompanists B Janardhan, P Jayabhaskar, R Dinakar) ushered in a vibrancy that’s unique to the ragam.

Living upto expectations

Praveen Godkhindi and M K Pranesh

Praveen Godkhindi and M K Pranesh  

The most anticipated concert in the music series, a jugalbandi between flautists Praveen Godkhindi and M K Pranesh, lived upto the hype as the instrumentalist troupe captured an alluring mix of the Hindustani and Carnatic styles. The Abhogi varnam, in both the classical forms, provided a glimpse of the performers’ versatility. The delineation of the Pantuvarali ragam by M K Pranesh leading to Thyagaraja’s Sambho Mahadeva was as enriching as the melody-rich exploration of the raag Jog by Pravin in the subsequent number.

In their departure from the classical space, the instrumentalists came together for a composition in Kadanakutuhala ragam weaved by Anoor Anantha Krishna Sharma, where the rhythm pads clearly provided the zing to the lively orchestration. The RTP in Keeravani ragam was a unique instance of the tabla, mridangam, rhythm pads and morsing providing instrumental support to the flautist-duo, resulting in an immersive musical experience. They also paid homage to their roots with a couple of Kannada compositions Krishna Nee Begane Baro and Bhagyada Lakshmi Baramma. The semi-classical sojourn was indeed worth it also for Anoor Anantha Krishna Sharma’s finesse on the mridangam.

Bengaluru-based Carnatic vocalist Aishwarya Vidya Raghunath, on the final day of the concert series, displayed musical command, an adaptive voice and a firm shruti. However, it was the precedence of technical finesse over soul. The arresting ragalapana and swarakalpana were among her major strengths. However, for a concert series that rung in a lot of promise for a significant part, this wasn’t quite the finish one expected.

Why you should pay for quality journalism - Click to know more

Related Topics Music
Recommended for you
This article is closed for comments.
Please Email the Editor

Printable version | Dec 14, 2019 10:20:42 PM |

Next Story