‘Madhuram Gayati,' a concept concert on the theme of love and romance by Sreevalsan J. Menon, proved to be an unique experience. With Sreevalsan seated on an open-air platform under the night sky and before an intimate audience, the ambience was just right for his musical expressions of love through the ages. The artiste himself provided the commentary on what he said was his first attempt at such a presentation.
Sreevalsan began his concert with the Swati Tirunal padavarnam ‘Sumasayaka' (Karnatakakapi-Roopaka tala), where the nayika appeals to Madhava to relieve her of the distress caused by the arrows of Kamadeva. This composition, a favourite of Mohiniyattam dancers, effectively conveys the mood of lassitude. In ‘Thoomani madathu,' a young girl is exhorted to rise and invite the Lord of Vaikunta. Here devotion is expressed in the form of bridal mysticism where the devotee sees the Lord as her husband. This Tirupaavai by Andal, one of the Alwar saints, is set to Raga Hameerkalyani and Adi tala.
Opening alapanam
The opening alapanam by Sreevalsan was exceptional. Violinist Edappally Ajithkumar came up with phrases of unusual beauty. The manodharma swaras and the harmony between the vocal and instrument made the experience truly splendid. Next Sreevalsan highlighted the different facets of romance – the bliss of togetherness, the pain of separation, and the joy of reunion. He chose to present it through a pallavi, ‘Rasa vilasa lola gopika manohara' in ragamalika set to Adi tala. The ecstasy of romantic love was conveyed in Kamboji, a raga favoured for Kathakali padams for expressing Sringara bhava. The mood of sad complaint or viraha, was communicated through raga Bageshree. The singer dramatically moved to Shubhapantuvarali, which speaks volumes for his absolute mastery over the medium. In yet another changeover, the happiness of reunion with the loved one was conveyed through raga Brindavani. Sreevalsan captured the essence of each raga and then returned to Kamboji with consummate ease.
The subtle tani avartanam by Nanjil Arul on the mridangam and Udupi Sreedhar on the ghatam was in keeping with the ambience of the concert. The well-loved ‘Aliveni Enthu Cheiyvu' (Kurinji-Chaapu tala-Swati Tirunal) puts across the disappointment of the nayika as she waits in vain for her beloved, the lotus-eyed Sri Padmanabha. She laments that the gentle incense-laden breeze and other attractions are of no use to her without His exhilarating presence. Sreevalsan's play on the words ‘Sundaran, Loka Sundaran, Triloka Sundaran' was worthy of any love-stricken maid.
When love rains
In Indian literature, the monsoon is traditionally associated with the joy of being drenched in romance. Here, an ardent devotee, Meerabai, who considers herself wedded to Lord Krishna, sings with abandon of how she unites with Him against the backdrop of raging thunder and pouring rain. This Meera bhajan in raga Miya ki Malhar underlined the theme of the concert.
‘Sundarancher Penmayile' is Muthaiah Bhagavatar's Themmangu in raga Chenchuruti. This composition adheres to the style of Kaavadi Chindu, the folk songs of Tamil Nadu. The singer describes the beauty of the Lord using the dialect and idiom of the common man. The rhythm and cadence of the song transported the audience to another milieu. It was a reminder that love and romance transcend both geographical and social barriers.
The concert was organised under the auspices of the National Book Festival that was on at Sahitya Akademi, Thrissur, which featured cultural evenings of class and variety.
