A gifted voice that can traverse with ease in chosen octave, fine tone and timber, sound grounding in the syntax of classicism and thorough knowledge of nitty-gritty of concert template… with all these prerequisites present in full measure, a classy vocal concert of Modumudi Sudhakar delighted sangeeta rasikas in no small scale at Kalabharati, Visakhapatnam.
A disciple of renowned Annavarapu Ramaswamy, his rendition bears the stamp of Parupalli School in its entire finesse. His command over the idiom of Carnatic classical music apart, his good sense for sahithya bhava and his artistic ability in its articulation and delivery in rhythmic cadence makes his rendition distinct in its own way. It, in a way, propels the feel of the composition straight into audience’s heart. This clear articulation makes the audience enjoy each composition in its entire range of emotive shades.
He opened the concert with Arabhi varnam. With rendition of purvangam in tisram and urrangam in chaturasram, it set the tone for the rest and then he picked up Siddhivinayakam in raga Shanmukhapriya. This was presented with a brief aalapana and swarakalpana. He seems to have penchant for swara sorties that reflect his mastery over matrix of swaras making it noteworthy in every pattern that he seeks to rende . His raga essay for Sankarabharanam was exhaustive and extensive. The krithi for this was Manasu swadheenamaina of Thyagaraja. Fluent neraval at the line ‘Rajarajesa niranjana’ and adroit swarakalpana in two tempos made it quite enchanting.
The highpoint of the session was RTP that he did in three ragas Mohana, Hindola and Darbar. He chose the pallavi lines of well-known compositions Nanupalimpaga nadachi vachitivo, Samajavaragamana and Ramabhirama of Thyagaraja in those ragas respectively. Having opted for elaborate exposition of those ragas, he picked up those pallavis in the same order making a pallavi in three ragas. The way he switched from one raga to another with fluid ease in quick succession and in pallavi maintaining the quintessential shade of lyrical import those lines intact bore an eloquent testimony to his artistic talent.
Violinst Mavuduri Satyanaryana Sarma’s bow sparkled in its share for this number making it a memorable experience in musical ecstasy.
Terateeyagaraada in raga Goulipanthu, Sangeetha Samrajyaa Sancharini in Mohanakalyani and Ramaramayanarada in Sindhubhairavi were the other notables in the session. On the whole, the entire concert was an aural treat for the span of three hours for rasikas.
S. Subrahmanyam on mridangam and G. Venkatesh on morsing lent competent support.
Visakha Music Academy hosted the concert as part of its monthly schedule.
