The annual Kalpathy Sangeetholsavam began with the traditional ‘Unchavrithy’ (it was Tyagaraja Day) followed by rendition of Pancharathna kritis by local artistes.
N.J. Nandini
The first concert was by N.J. Nandini. The day was dedicated to Tyagaraja. Her musical acumen and enviable manodharma were distinctly noticeable throughout the recital. The impressive varnam ‘Sarasijanabha’ (Kamboji), followed by ‘Neekaelana’ (Devamanohari), a chaste alapana of Kedaragowla preceding the kriti ‘Saamikisarievvare’ and a bhava-rich ‘Enthaninne’ (Mukhari) appended with a crisp niraval and swaraprastharas spoke volumes about her virtuosity. Her scintillating delineation of Thodi and the expressive presentation of ‘Dasukovalena’, ornamented with a vivacious niraval and brilliant swara korvais, offered a superb aural treat. Surajananda’s ‘Muruganin Marupeyar’ (Behag) and M.D. Ramanathan’s ‘Saagarasayana’ (Bageshri) were soaked in melody. Nellai Viswanathan could not match Nandini on the violin. While Nanjil Arul’s mridangam accompaniment was too aggressive, Manjoor Unnikrishnan was skilful on the ghatam.
T.M. Krishna
Despite his unconventional approach, Krishna cast a magical spell on the audience with his mesmeric music on the second day, dedicated to Purandaradasa. Delightful niraval and a shower of swaras in ‘Manava Janma’ (Poorvikalyani), a captivating portrait of Mayamalavagowla, succeeded by an intellectual tanam and the majestic portrayal of ‘Srinaadadhi’ (Dikshitar) were outstanding. A magnificent sketch of Neelambari was followed by a tranquil, emotive rendition of ‘Amba Neelambari’. An alluring essay of Kalyanavasantham by violinist T.H. Subramanyam and a marvellous, elaborate tanam by the vocalist, depicted the raga bhava in totality. After a brief pallavi beautified with a garland of ragamalika swaras, Krishna presented the Kanakadasa gem ‘Barokrishnayya’, enriching it with deep bhava. Palladam Ravi’s (mridangam) gentle support was a show of percussive eminence. Udupi Sreedhar (ghatam) proved his mettle adequately.
Sreevalsan J. Menon
Sreevalsan’s concert on the third day (Swati Tirunal Day) was an amalgam of deep classicism and pleasing aesthetics. After building a solid structure with delectable presentations of ‘Sami Ninne’ (varnam in Pantuvaraali), ‘Rama Neepai’ (Kedaram), ‘Maarubalka’ (Sreeranjani), and ‘Nannubrovu Lalitha’ (Lalitha), he proceeded to a moving alapana of Sahana. Precise niraval and crisp kalpanaswaras in the M.D. Ramanathan kriti ‘Velavane Unakku’ sparkled. Being the main raga, Saveri could have been elaborated in greater detail, though it had good number of splendid sangathis. Rendering beautifully ‘Anjaneya’, he presented a volley of well-designed swara patterns. ‘Alarsara parithaapam’ (Surutti), ‘Kanakamayamaayidum’ (Huseni) and ‘Bhaja Bhaja Manasa’ (Sindubhairavi) exuded meditative bhava. Idappally Ajithkumar’s violin accompaniment was melody personified. Balakrishna Kamath (mridangam) and Vazhappally Krishnakumar (ghatam) provided competent percussive support.
Parur trio
M.A. Sundereswaran, M.A. Krishnaswamy and M.S. Ananthakrishnan enthralled listeners with their violin performance on the fourth day, dedicated to Annamacharya. The concert gained momentum from the lilting varnam ‘Maguvaro’ (Narayanagowla), the zestful ‘Sri Maha Ganapathiravathu’ (Gowla) and the evocative ‘Sriman Narayana’ (Bowli). The unique mechanics of their fingering and bowing techniques were amply revealed in magnificent portrayals of Pantuvaraali (‘Appa Rama Bhakthi’) and Thodi (‘Kaddanuvaariki’). Accompanists Cherathala Ananthakrishnan (mridangam) and Vaikom Gopalakrishnan (ghatam) made a substantial contribution.
Priya Sisters
Shanmugapriya and Haripriya were not at their best in their vocal recital on the fifth day (Muthuswamy Dikshitar Day). An appealing rendition of ‘Ananda Natana Prakasam’, preceded by a tidy elucidation of Kedaram was soothing. Kamboji alapana by Haripriya was no doubt pleasing but the raga was not explored in depth. Their presentation of the kriti ‘Aadum Deivam’, suffixed with a lucid niraval and superb swara combinations, was laudable. The elaboration of Pantuvarali by Haripriya was on traditional lines; the gradual development of tanam showed the raga swaroopa. The duo did justice to the pallavi, embellishing it with ragamalika swaras. While Srinivasa Rao (violin) provided adequate accompaniment, Patri Sathishkumar (mridangam) and B.S. Purushotham (ganjira) excelled.
Cherthala Ranganatha Sharma
His vocal concert on the sixth day (Shyama Sastri Day) was a fitting finale. His delightful forays in the delineation of Begada (‘Sankarineeve’) and Poorvikalyani (‘Ninnuvina’) and the weighty niraval and sprightly swarakalpanas made a strong impact. The less-heard-kriti ‘Sri Kanchi Nayike’ in Asaveri was a welcome choice. The grand canvas of Bhairavi painted by him brought alive the inherent charm of the raga. His tasteful artistry in presenting the trikaala pallavi with craftsmanship was admirable. The ragamalika swaras lent depth to the rendition. Avaneeswaram Vinu’s violin oozed sweet melody. Bangalore Praveen (mridangam) and Kottayam Unnikrishnan (ghatam) teamed up beautifully to render support.
The festival was organised by the District Tourism Promotion Council, Palakkad.
