The Bahulapanchami recital of Prasanna Venkataraman at the Sri Thyagaraja Seva Samiti, was marked by consistency and control. The balance between the flute and tye vocal with gana-naya and aesthetic discernment were the noteworthy aspects of his presentation.
Prasanna’s insight into the raga’s essence and his clear articulation of the sahitya spoke of the importance he placed on them. His approach in performing technique was commitment to the classical aspects of sangita. His restrained manodharma and vocal manipulation helped him gain this objective.
The alapana of Bhairavi (‘Sri Raghuvara Sugunalaya’), Kalyani (‘Isapaahimam’) and Begada (‘Lokaavana chatura’) were framed on fluid movements with proper emphasis on moorchana sancharas to bring out the distinguishing change of each raga. He made sure that each phrasing served the purpose he held in view. The creative process was carefully guided to reveal his methodical approach.
While there was an overall pleasing quality in the rendering of the kirtanas, he brought out with intensity the endearing spirit of the Ritigowla song, ‘Nannu Vidichi.’
Prasanna’s confidence and competence included intense demanding sadhaka ethics – the fuel that masters basic skills. Though there are many ways for a vidwan to excel, the voice holds the key as Prasanna revealed in sound refinement, not to add excitement to exposition.
The violin accompanist V. Sanjeev was equally well-equipped. The sancharas in the raga alapana in his solo versions chased each other without proper spacing. That was a drawback in an otherwise talented response to the vocalist. The mridangam player B. Ganapathiraman placed in his thani more faith on laya profundity at the cost of the sweetness of the mridanga sound
