The annual Sree Swathi Thirunal Music and Dance Festival at Irinjalakuda showcased both established and promising artistes this year. The highlights of the festival organised by Nadopasana, however, were concerts by two up-and-coming artistes – Bangalore R. Ravikiran, and Thushaar.
Rare kritis
Bangalore Ravikiran, accompanied by Edappally Ajithkumar (violin), Tanjore Ramdas (mridangam), and Thiruvananthapuram V. Karthikeyan (ghatam), opened his concert with a Kamboji varnam. Ravikiran choose some rare kritis such as ‘Dinamanuhridhimama' (Sourashtram), and ‘Sambhosanthatham' (Karnataka Kapi).
The swara patterns he weaved for the Sourashtram piece was wonderful. ‘Gopanandana' (Bhooshavali), which followed, would have been better if he had rendered it in a slower pace than the one he chose. Ataana was taken for a neat delineation and the kriti ‘Saarasayathalochana' followed with niraval and manodharma swaras.
The Kunthalavarali piece ‘Bhoogeendrasaayinam' was sung in the right tempo before he took up the main kriti of the concert, ‘Janani Maamava' in Bhairavi. The raga exploration was a treat as he dwelled on some rare sancharas.
The jaavali ‘Ithusaahasamulu' (Saindhavi), ‘Jagadeesamaamava' (Naathanaamakriya) and Visweswara (Sindhubhairavi) constituted the tailpiece of the concert. Ajithkumar played a neat Ataana and Bhairavi.
Ramadas' timely patterns, which are the hall marks of the Tanjore baani, were countered by Karthikeyan's rhythmic beats and their exchanges enlivened the concert.
Soaked in bhava
Thushaar captivated the audience with his ease in traversing the octaves. He rendered ‘Sadaasivakumaaram' (Revagupthi), a composition by his teacher B. Sasikumar. The Hamsaanandi piece ‘Paahijagadjanani' had good padanthara, ideal kalapramana, and a lot of bhava. Kaanada was effortlessly picturised and the kriti ‘Maamavasadajanani' was neatly sung.
He delighted the discerning audience with a fine, technically sound and brilliant portrayal of Poorvikalyani alaapana, traversing the contours of the raga.
The kriti ‘Paramapaavana rama' composed by Poochi Sreenivasa Iyengar was sung well.
His improvisations during the ragaalapana were that of a mature and experienced musician.
Manjoor Ranjith on the violin lent able support. Cherthala Krishnakumar (mridangam) and Kottayam Murali (morsing ) handled the percussion. ‘Jalajabandhu' (Surutti) and a Mohanakalyani thillana composed by Lalgudi constituted the post-tani session.
Dinesh Kumar from Chhattisgarh performed a Hindusthani recital as part of the festival. A vilambhit Khayal in Puriya Dhanasree and bhajans in Kalavati and Behag were the highlights of his concert.
Aparna Marar performed a Mohiniyattam recital wherein the friendship between Kuchela and Krishna was depicted to a sloka from Narayaneeyam. She also performed ‘Poonthenenmozhi' (Anandahairavi) and a Thillana by Swati Tirunal in Bhoopalam.
The three-day festival began with a Sopana sangeetham recital by Neelamperoor Suresh. Sangeetharaadhana by devotees, a violin solo recital by Ettumanoor Dennis and a Laya sangamam were some of the other programmes.
