G. Ravikiran can traverse from the mandara sthayi to tara sthayi with ease, and he uses his flexible voice intelligently. The elaborate Kedaragowla raga alapana was indicative of this. ‘Saraguna Palimpa’ was rendered leisurely with niraval and kalpanaswaras at ‘Varaguna Seshadri’ (swarams alternating also at ‘Satadruthapujitha’) with good support from Akkarai Sornalatha whose raga essay earlier was also very good. The consistent support from Hariharan (mridangam) and N. Narasimhan (ghatam) cannot be undermined. The thani played by them was outstanding.
The concert which started with Tyagaraja kriti ‘Marubalga’ in Sri Ranjani with a variety of kalpanaswaras and ably supported by the violinist set the tempo. Next came a lengthy raga alapana of Varali done in a way the raga demands. Sornalatha’s essay definitely added to the glory of ‘Akkarai.’ Dikshitar’s ‘Seshachalanayakam’ very well rendered was completed with a lengthy and meaningful niraval and kalpanaswaras with good support again from the violinist. ‘Chalamelara Saketharama’ in Marga Hindolam was the next choice. Without overcrowding the concert with too many songs, he gave a very satisfying performance.
The concluding pieces were Sadasiva Brahmendra’s ‘Gayati Vanamali’ and Paras Javali ‘Chelinenetlu.’ Not only his singing but also some mannerisms are indicative of his guru!
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