Melange of music

Trichur Brothers. Photo: S. Siva Saravanan

Trichur Brothers. Photo: S. Siva Saravanan  

At the 62nd Vardhanti concerts, eminent artists proved their expertise and those in the junior slot, rendered time-tested kritis.

The Trichur siblings, Sree Krishna Mohan and Ramkumar Mohan, have become competent performers of late. During their recital as part of the 62nd Vardhanti celebrations held at Sri Saradambal Temple in Coimbatore, their manodharma came to the fore from the beginning of ‘Maathe Malayadwaja' a varnam.

‘Bhavayami Raghuramam,' soaked in bhava, was marked by clarity of diction in delivery. Their raga vinyasam of Bhoopalam for the kriti, ‘Sadachaleswaram' was rendered with the duo touching the essential notes in all the three octaves. Their alapana for the composition in Abhogi in the upper registers was enchanting and the kalpanaswaras at the niraval ‘Oru Dharam Siva Chidambaram,' were jaunty with suitable replies from Vijayaraghavan on the violin. Mohan (mridangam) and Gopinath Prabhu (ghatam) revealed their laya expertise in a vibrant thani.

Brilliant intepretation

Lalitha’s solo violin recital on the last day of the festival of music was a turning point with a thavil accompaniment of Shantakumar and Subramaniam on the ganjira. Shantakumar’s astuteness and originality were matched by Lalitha’s agility and shrewdness. Her brilliant play of Abhogi varnam in four tempos was magnificent. ‘Entharo Mahanubhavulu’ in Sriragam was a brilliant interpretation. Her raga vinyasam of Vachaspathi for the kriti, ‘Paratpara’ with swaras and Hemavathi for the kriti, ‘Sri Kanthimathi,’ punctuated by phrases, was manna to the ears. The niraval and swaras revealed the depth of the artist’s vidwat. The thani by Shantakumar and Subramaniam was thunderous but soothing.

Srirangam Subramania Siva began his flute recital with the Navaragamalika varnam and he followed it up with ‘Sriman Narayana’ in Bowli. His winsome presentations struck an immediate chord with the rasikas. ‘Devi Neeye Thunai’ (Kiravani), a favourite among the artists in the series, with swaras was a neat execution. His Kalyani alapana for the kriti, ‘Vasudevayani’ was more or less a standard fare with occasional swara dischord in the higher octaves. ‘Raju Vedala’ (Thodi), ‘Bantureethi’ (Hamsanadham) and ‘Bho Shambo’ were ear-worthy. The young team included Guru Shyam (mridangam) and Adithya Srinivas (violin).

Darshan showed his potential and strength with good control over his voice. His brisk opening of the Arabhi varnam ‘Anname’ paved the way for an unhurried delivery of ‘Siddhi Vinayakam.’ He rendered the kritis chosen for the kutcheri with vocal restraint. Though his alapana of Dharmavathi was sketchy, his portrayal of Sankarabharanam for the kriti, ‘Mahalakshmi Jaganmatha’ showed his formative stage in the concert arena and there is a need for a planned development of the ragas for a vocal recital. Guruvayurappan (violin) followed it up with perfect comprehension of the ragas on the violin. Radhakrishnan (mridangam) embellished the compositions with dignity and grace.

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Printable version | Jun 2, 2020 8:24:33 PM |

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