Music

Classical purity

Anantha Padmanabha Rao

Anantha Padmanabha Rao  

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N. Anantha Padmanabha Rao chose ragas that exemplified his vintage style

A vocal concert by Aishwarya Vidya Raghunath, accompanied by Aditi Krishnaprakash (violin), B.C. Manjunath (mridanga), and A.S.N. Swami (kanjira), was organised by the Nadaranjani Sangeetha Sabha, Bangalore, recently.

‘Viriboni’, the ata thala varna in Bhairavi, rendered with classical purity, was followed by a lively ‘Telisi Rama’ in Purnachandrika raga and adi thala, adorned with a few sparkling kalpana swaras. Varali was next taken up for a well contoured alapana that was suffixed with ‘Karunayela’ in adi thala, incorporating a fine neraval at ‘Paramatmudu Jeevatmudu’ and a cascade of kalpana swaras in the second speed. The ensuing Deekshithar krithi ‘Sarasijanabha Sodari’ in Nagagandhari raga and rupaka thala provided a subdued contrast in tempo and melody.

The smooth heaviness of the young vocalist’s voice was explicit in the exquisite and fairly detailed alapana of Kanada that drew out the sweetness of the raga in a series of imaginative and variegated phrases imbued with tender nuances and fine touches. The Thyagaraja masterpiece ‘Sukhi Evaro’ was succeeded by ‘Orajupu’ in Kannadgoula, which was, however, presented in a speed that was contrary to the content, tenor and tune of the composition.

Shankarabharanam was elaborated in meticulous, unhurried fashion, with each of the crucial notes receiving adequate attention. Multiple shades of the raga were revealed with deep gamakas and clear briga oriented sancharas, punctuated with elongated pauses at notes such as the thara shadja and the gandhara. Thyagaraja’s ‘Swararaga Sudharasa’ in adi thala was reinforced with an expansive neraval at ‘Mooladharaja Nada’ and kalpana swaras in two speeds that ended with diminishing thala cycles at the panchama. The lead artiste’s improvisational felicity and technical skill elicited excellent responses from the accomplished young violinist and outstanding support from the seasoned percussionists.

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The R.T. Nagar Cultural Association hosted a concert by senior vocalist N. Anantha Padmanabha Rao, accompanied by Anand Vishwanathan (violin), B. Dhruvaraj (mridanga), L. Bhimachar (morsing), and Archith Bharadwaj (vocal support).

‘Sarasuda’, the Saveri varna in adi thala and ‘Srimahaganapathi’ in Goula raga and mishra chapu thala were followed by a crisp ‘Sree Guruguha’ in Devakriya raga and rupaka thala. Deekshithar’s Navagraha krithi ‘Suryamurthe’ in Sourashtra raga and dhruva thala, preceded by the sloka ‘Japakusuma Sankaasham’, was sung at a sedate pace that highlighted the majestic gait of the composition. Hamsanadam was expanded in a series of creative phrases that led to Mangirasha’s beautiful lyrics beginning ‘Raghavendra Ninna Seve’ cast in the musical mould of ‘Bantureethi’, adorned with kalpana swaras.

The sheer magnificence of Shyama Shastri’s swarajathi ‘Kamakashi’ in Bhairavi was highlighted in a heavy gamaka-laden presentation that exemplified the artiste’s vintage style, and was one of the highlights of the concert. The rare Thyagaraja piece ‘Rama Nivegani’ set to Narayani raga and adi thala was followed by a short but bhava laden alapana of Khamas and Mysore Vasudevacharya’s ‘Brochevarevarura’ in adi thala, ornamented with some alluring sangathis. The Kharaharapriya suite included an elaboration of some length, Thyagaraja’s ‘Rama Nee Samanamevaru’ in rupaka thala, and a neraval and kalpana swaras at ‘Paluku Palukulaku’, enriched by prompt and mellifluous violin accompaniment and exceptional percussion support.



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Printable version | Dec 7, 2019 10:29:53 PM | https://www.thehindu.com/features/friday-review/music/classical-purity/article3658299.ece

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