A vocal recital by Priyanka C. Prakash, accompanied by Aditi Krishnaprakash (violin), Phaneendra Bhaskar (mridanga), and Sharat Chandra (ghata), was hosted by the M.A. Narasimhachar Music Foundation, Bangalore, recently.
The concert began with a medium tempo rendition of the varna “Maal Maruhan Murugan” in Hindolam, set to adi thala. “Raghuvara” in Panthuvarali, prefaced with a short raga sketch, and accentuated with a crisp neraval and kalpana swaras in the second speed, was followed by another Thyagaraja krithi, “Ragasudharasa” in Andolika raga and aditala. The young vocalist then essayed a compact alapana of Simhendramadhyamam, suffixed with “Needu Charanamule” in mishra chapu tala, which was also reinforced with a fine neraval and kalpana swaras.
Thyagaraja's “Vararagalaya” in Chenchukamboji raga and aditala, presented in a bracing tempo, was prelude to the main raga of the evening, Bhairavi. A fairly detailed elaboration, emphasising the crucial notes of the scale and imbued with weighty gamakas, testified to steadfast adherence to classicism and tradition. Some phrases, however, would have benefited from better definition and firm contouring, and full throated articulation. Dikshithar's “Balagopala” in adi thala was adorned with a neraval at “Neela Neerada Shareera” that displayed a remarkable degree of creativity and complexity and was the highlight of the performance.
The ensuing kalpana swaras in two speeds were spontaneous and variegated, featuring a stint of diminishing tala cycles landing at the panchama and culminating in a tani avarthana. The young accompanying artistes provided excellent melodic and percussion support that vouched for sound technique and improvisational ability.
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A violin duet by Sindhu Suchethan and H.M. Smitha, accompanied by Anirudh Bhat (mridanga) and Bhargava Halambi (kanjira), was part of “Nirantara – a Stage for Young Talents”, organised recently by Ananya.
A bright beginning was made with a varna set to Kadanakuthuhalam raga and adi tala, followed by “Gajananayutham” in Chakravakam raga and adi tala embellished with kalpana swaras.
A melodious alapana of Janaranjani by one of the duo, replete with smooth phrases punctuated with an occasional and unusual plain nishada, was supplemented by an elongated consonant notes held by the other.
The perennial favourite “Pahimam Sri Rajarajeswari” in adi tala ended with a spate of kalpana swaras in two speeds.
A rare “Edaari Sancharinthura” in Sruthiranjini raga and adi tala prefaced a methodical elaboration of Bhairavi suffused with the sedate grandeur of the raga. Thyagaraja's “Lalithe Sri Praviddhe” in adi tala was played in an effervescent tempo and supplemented with a well sculpted neraval and kalpana swaras in the second speed.
Mysore Vasudevacharya's composition in Garudadhwani raga and adi thala, “Devi Kamalalaye” provided a lilting and lively contrast to the previous item.
A raga tana pallavi in Sindhubhairavi, the main item, bore testimony to the impressive technical prowess and abundant manodharma of the lead artistes. The haunting allure of the raga and a scintillating array of melodic facets were illumined in the alapana.
The thana encompassed an enchanting assortment of patterns, and prefixed the pallavi beginning “Sri Rama Raghurama” set to khanda jathi triputa tala, augmented by superb percussion support.
