Hemmige Prashanth sang at Ganabharathi, Mysore. B.K. Raghu (violin) and B.R. Shrinivas (mridanga) accompanied the singer, who with composure and commitment, realised the serious listeners' expectations.
Prashanth's voice has a good range, capable of spanning over the required sthayis; and more than the richness of his voice, it is his manner of presenting the sublime compositions fortifying them with involvement and every nuance an ideal music is supposed to embody.
With this, he fulfilled the prerequisite of classical music, particularly with respect to the elements of rasa and bhaava, bringing them within the warm folds of bhakthi.
The concert was well planned. Introductory alapanas he prefixed to most of the compositions gradually increased both in depth and fervour in consistency with different stages the concert was entering into; and this method he applied while developing other embellishments like neraval or kalpanaswaras, wherever necessary and relevant. Alapanas in Bhairavi (“Upacharamu” -Thyagaraja) and Hamirkalyani (“Venkatashaila” - Subbaraya Shastri) illustrated this.
As the concert progressed, Kokilapriya (“Maanavathim” - Jayachamaraja Wodeyar) and Kedaragoula (“Saragunapalimpa”- Ramnad Shrinivasa Iyengar) treated the audience with more elaborations. Bhairavi thrived with precise gamakas indicative of the raga and its essence; Kokilapriya shone with a blend of Thodi and Gourimanohari; and Kedaragoula capaciously expanded with dignity and sentiments.
Proper diction characterised the lyrics, well supported by the percussionist, who intuitively predicted, eagerly anticipated and readily complemented the lead artiste's spontaneous moves.Raghu's (violin) gentle curves replete with tranquilising tunes (totally devoid of screeches common even in stalwarts) were another feature characterising the concert.
Some more numbers accrediting the singer: “Saagarashayanavibho” (Bageshri - M.D. Ramanathan) , ” Rangapuravihara” (Brindavanasaranga-Dikshithar), “Kandu Dhanyanade” (Behag-Surapurada Anandadasaru).
***J.S.S. Sangeetha Sabha celebrating Basavajayanthi honoured Putta Ramappa (nonagenarian vocalist), S. Sharadamma (vocalist) and Pushpa Iyengar (patron).
Marking the occasion, accomplished singer M.S. Sheela came out with what best she could musically bestow on the listeners, in spite of constrains partly restricting her to vachanas.
Veena Mohan (violin), B. Ravishankar (mridanga) and V.S. Ramesh (morsing) accompanied her.
The inspired and the inspiring singer, starting with Tiruvottiyur Thyagayya's varna, “Chalamela” (Durbar), moved to Maha Vaidyanatha Iyer's “Shri Shankara Guruvaram” (Nagaswaravali), appending the latter with swarakalpana, which trod lively progressions.
The gamut of her voice and the timber rendered “Ambavani” of Muthayya Bhagavathar (Keeravani) melodious; a lively neraval at Varaveenapani was pleasant; fluent swarakalpana completed the vibrancy of the presentation. “Naadapriya Shivanembaru” (Basavanna) sung in Hamsanandi comprising an alluring alapana and equally impressive kalpanaswaras finely shaded with semi classical touches served the need of the hour.
Basavanna's “Chakorange”, “Thanage Munivarige”, Akkamahadevi's “Bittenendare Bidadee”, Gopaladasa's “Kamalamukhiye”, and Purandaradasa's “Ranga baaro” stood for the versatile singer's rich repertoire.
