At the September Season of Music, organised by Rajalakshmi Fine Arts, Coimbatore, Ravikiran's mastery over the instrument and diligent sadhakam enabled him to create a vocal feel in many places sending the rasikas into raptures.
There was not a single note that went off key during the entire session. Khambodi varnam, the curtain-raiser, was followed by Swati Tirunal's ‘Deva Deva' in Mayamalavagowla.
After a brief sketch of Kokilavarali, Tyagaraja's ‘Samugana Nilva' with alluring sangatis and swara adjunct was a fluent version. An elaborate alapana of Ritigowla for the kriti, ‘Enna Punniyam Seideno' was a melodic presentation.
Kiravani was the main raga for the RTP, the pallavi being ‘Sri Kanthimathi Yuvathi Srimati Pahimaam' and the raga sancharas in Behag, Kaanada and Hamsanandi were appealing.
The pallavi session ended with the thani by Prasad (mridangam) and Purushothaman (ganjira) with all the frills.
After presenting a javali, a vibrant tillana ended the delightful instrumental recital. Vijayalakshmi was supportive on the violin.
Unnikrishnan 's was an aural treat for the listeners at the September Season of Music. His Kaanada ata tala varnam ‘Neranammi' set the tenor for his agenda.
‘Siva Siva Enaradha' (Pantuvarali) with niraval and swaras was a well-defined aesthetic version.
‘Ramachandram Bhavayami' in Vasantha that followed was replete with swaras. His raga sketch of Malayamarudham for the kriti, ‘Karpagamanohara' focused on the karvais and ear-friendly and steady sancharas. The Kalyani raga alapana blended gamaka prayogas in medium pace for the kriti, ‘Pankajalochana' with an apt niraval.
Kalyanavasantham for the RTP towards the fag end of the recital with maximum phrasings tested the patience of the rasikas.
The thani by Prasad (mridangam) and Gopalakrishnan (ghatam) was well-balanced with multiple segments of soft and subtle rhythmic layers.
The dulcet notes and honeyed phrases of Subhalakshmi on the violin with perpetual mellowness in bowing contributed to the wholesome fare.
Aural treat
The intuitive musical impulses and the felicitous breeziness of the siblings, Ranjani and Gayatri , were evident in their vocal recital. Their music was not only compelling but elevating for the rasikas. The duo's musical sensibilities, tuned to the same wavelength, was a treat for the ears of the audience.
Flagging off the kutcheri with ‘Chalamela' varnam in Durbar on a right keel, the following ‘Raja Rajeswari' (Purnachandrika) with a spate of swaras was absorbing.
The vocalists negotiated the delicate curves of Pantuvarali for the kriti, ‘Ninne Nera Namminanu' and Bilahari for the kriti, ‘Sree Chamundeswari Palayamaam' with creamy lyricism making them effective. The raga contours stood out admirably especially in the tara sthayi.
In their RTP in the Pallavi, ‘Mathiani Easan Maganai Ninai,' in Saaramathi, the artists deftly handled the transitions of the ragas, Valaji, Mohanakalyani, Sunadhavinodhini and Durbari Kaanada with aplomb. The virutham (Vasantha) and the abhang in the end served as titbits.
Charumathi Raghuraman's raga alapanas and swara sallies were enjoyable. Manoj Siva (mridangam) and Sridhar (ghatam) provided an impeccably graceful laya support reflecting the subtle inter-relation between the song and sound patterns.
Meticulous planning
As usual, Sudha Ragunathan 's recital on the final day was a big draw. The kutcheri was characterised by her meticulous concert planning and choice of compositions for the recital. The opening Mandari varnam ‘Vanajaksha Ninnekori' brought out the splendour of the raga. ‘Vinayaka Vighnanasaka' (Vegavahini) that followed showed her distinctive flair for expressing her clear musical ideal. Narayani raga alapana for the kriti, ‘Durjanaseyumarga' was vast in range and delicate in expression. It was anchored by strong pidis lending solidity to the faultlessly aligned tara sthayi.
The rich tapestry of swaras she wove after the niraval for the kriti, ‘Ananda Natamaduvar Thillai' (Purvikalyani) was an indication of her perceptive mind. ‘Sree Viswanatham Bhaje,' a chaturdasa ragamalika was a fluent and inspired version indicative of her exquisite manodharma. ‘Bo Shambho,' ‘Brahmamokate' and a virutham towards the end were sung with devotional fervour.
In the junior slot, promising youngsters – Chitra Poornia Sathish, Saraswathi Keerthana (disciples of Bombay Jayasri) and Aswath Narayanan (disciple of late K.V. Narayanaswami) gave a good account of themselves in rendering alapanas and compositions well-aligned to sruti. Their accompanists – Sornalatha, Shraddah Raveendran and Sivaramakrishnan (violin) and Sumesh Narayanan, Praveen Kumar and Srinivas (mridangam) displayed their laya expertise fittingly.
