A vocal concert by Sanjay Subrahmanyan, ably accompanied by S. Varadarajan (violin), Neyveli B. Venkatesh (mridanga) and G. Guruprasanna (kanjira) was organised in Bangalore by the students and well wishers of senior Carnatic vocalist Neela Ramgopal as part of her 75th birthday celebrations.
The opening number, “Neevanti Daivamu”, the adi thala varna in Neelambari, was followed by the Swathi Thirunal krithi “Paripalayamam” in Reethigowla raga, bedecked with kalpana swaras that encapsulated the essence of the raga. The elaboration of Panthuvarali that preceded “Kalyanagopalam” in khanda chapu thala hit some plaintive notes, juxtaposing the madhyama and nishada in contiguous phrases on a couple of occasions to telling effect.
Kanada was then expanded with several dexterous touches that combined individuality and improvisational prowess, as prelude to the exquisite composition “Sarineeke Galada” in adi thala. A plethora of sancharas around the dhaivatha, and several briga-laden ones punctuated by the glides typical of the raga, characterised the alapana of Yadukulakamboji that preceded an unhurried rendition of Thyagaraja's “Adikadu Bhajana Manasa”.
The centre piece of the concert was a raga thana pallavi in Thodi. While the masterful alapana encompassed detailed treatment of each swara with some unusual facets and unconventional usages, the thana concluded with an exuberant explosion of patterns. The complex pallavi beginning “Thenparam Girivalar Murugaguhane”, was couched here in khanda jathi thriputa thala, four kalai, with a compensating postponement of the eduppu. After a modicum of amplification, the seismic shift to shorter versions of the thriputa thala with different sahithyas was piquant and dramatic, but the deeper and more enduring satisfaction that could have emanated from a more significant treatment of the first pallavi was obviated.
A concert by Sukanya Prabhakar , accompanied by S. Seshagiri Rao (violin), M.R. Sainath (mridanga) and M.K. Bhaskar (ghata) was hosted by Raga-Sangama recently.
A meticulous and melodious presentation of the daru varna “Mathe” in Khamas raga and adi thala was succeeded by a serene and reposeful alapana of Arabhi and “Sree Sakalaganadhipa”, a lilting composition packed with sahithya that was clearly and meaningfully articulated, and a few avarthanas of kalpana swaras.
Classical purity
The elaboration of Dhanyasi was notable for its classical purity, and for the stress on the nishada during the ascent and as an adjunct to the shadja in phrases in the thara sthayi. Shyama Shastri's magnificent “Meenalochana” in misra chapu thala was sung in a tempo that accentuated its unique lyrical and rhythmic structure. A crisp “Bhogeendrashayinam” in Kunthalavarali was prelude to a comprehensive exposition of Hindolam suffused with meditative intensity, interspersed with intricate brigas that had a character and proportion of their own.
“Dasa Dasaramaneya” set to khanda chapu thala was ornamented with imaginative kalpana swaras. Though the concert comprised a few more devaranamas including “Kasivisweswara” in Sindhubhairavi, all suffused with devotional fervour, the artiste's erudition and expertise could have been further highlighted with a major item incorporating a complete alapana, neraval and kalpana swaras.
