In what seemed a throwback to an era that preceded the one in which the contemporary kutcheri format took root, a trio comprising Aditya Prakash (vocal), Ramana Balachandran (veena) and B. Shree Sundarkumar (ganjira) presented a chamber concert featuring compositions in rakti ragas by the Trinity and other noted composers. The thematic recital ‘Rakthi’ was organised by ArtSpire at Wandering Artists, a multicultural venue.
Syama Sastri’s gem, ‘Rave Himagiri Kumari’ (swarajathi in Todi) set the tone, carried forward in a series of reflective elaborations.
Bhava-drenched swara-sahitya drove home the beauty of the predominantly panchama-varja phrasing and the composer’s perfectly choreographed balance between gamaka-laden and pure notes, all of which shone through in Aditya’s resonant timbre.
Sahana is a raga that lets off its aroma gradually. Given that Aditya walked the right line of intention in his alapana, it was surprising that the raga muse played hide and seek. However, Ramana’s ingenuity on the strings, manifesting through swaroopa-affirming pidis, allowed it to blossom. ‘Raghupate Rama Rakshasa Bheema’ (Tyagaraja) sustained the mood.
Impressive Varali
With impactful sancharas in the mandra sthayi and a brisk swirl of madhyama kala prayogas around the panchama, Aditya’s Varali raga essay carried weight. Ramana’s Varali was a compelling ebb and flow of sumptuousness and Spartanness, robustness and delicacy. Deep oscillations, silken jarus and shadja-varja passages spun a mesmeric web. Take for instance, the prolonged, firmly held, meditative tara sthayi rishabha fading to a just-articulated shadja — a sublime moment. Kizh kala niraval in ‘Maamava Meenakshi’ (Muthuswami Dikshitar) echoed the kriti’s vistara, complemented by the spot-on dynamics of melkala niraval.
A standalone ‘Siva Peruman Kripai Vendum’ (Surutti, Papanasan Sivan) carried emotive undertones. Evocative opening phrases of Bhairavi from the veena, followed up by Aditya’s tanam projected the heft of the gandhara. Pace quickened with the slew of permutations, which emerged in the vocalist’s madhyama kala tanam, even as veena vibrations filled the senses. As ‘Balagopala’ (Muthuswami Dikshitar) exerted its spell, the kriti came across as a particularly apt choice, with the charanam sahitya ‘vainika gayaka’ emphasising the age-old connect between voice and instrument. The synergy illuminated niraval and kalpanaswara in two kalas. ‘Irakkam Varaamal’ (Gopalakrishna Bharati) was a lovely cameo in Behaag. Aditya reserved a fair measure of forcefulness for the tillana in Senchurutti (Veena Seshanna).
Sundar Kumar’s skill was consistently in evidence. Never intrusive, his artistry was noteworthy, distinguished by clarity of sollus and the ganjira’s vibrant tonality.
The theme, choice of oeuvres and conducive ambience aided the artistes in their search when interpreting the compositions.
Published - August 17, 2017 04:22 pm IST
