Friday Review

Spirited and enthralling

Amrita Murali. Photo: M. Vedhan.   | Photo Credit: M_VEDHAN

Celebrating its silver jubilee and Thyagaraja Aradhana as well, Sarada Cultural Trust featured some stalwart musicians of the South at a nine-day event held at Keyes High School, Secunderabad.

O.S. Thyagarajan, veteran Carnatic vocalist who knows well how to weave beauty into his vocalism, mesmerised the audience. He was in the company of Peri Sriramamurthy on violin, Peravali Jaya Bhaskar on mridangam and P. Srinivasa Gopalan on morsing — all seasoned artistes of the city. Thyagarajan rightly chose to present the compositions of Thyagaraja as his homage to this Vaggeyakara. Sadhinchene in Arabhi, a Panchartana kirtana, also marked this event, highlighting the line Samayaniki Tagumatalaadene revealing kirtana’s intent to reflect Srirama’s benevolence to his Bhaktas. Evarani Nirnayinchirira in Devamruthavarshini, Sundaratara Deham in Kamavardhani , Cheraravdemira in Reethigowla with swarakalpana, Jagadeesha Pahimam in Kalyani and Sanatana Paramapavana in Phalamanjari were some of his expressive renditions. He treated Emijesitenemi in Thodi as his main with raga and swara being high order presentations. Varijanayana Neevada in Kedaragowla was refreshing rendition.

T.M. Krishna

On third day T.M. Krishna took the stage accompanied by Sriram Kumar on violin and Arun Prakash on mridangam. T.M. Krishna known for his spirited creative skills gave remarkable concert and his very menu he served to audience was strange. Vinatasuta Vahana of Thyagaraja in Jayantisena was his opening number that was presented with neraval at Matabhedamane followed by swarakalpana. The surprise introduction was rare Kshetrayya padam, Rama Rama Pranasakhi in Bhairavi a bhava laden presentation ending in swarakalpana tagged to pallavi line. Alapana was presented in detail.

His brisk tanam in Khamas led way to the rendition of a padam of Dharmapuri Subbarayar.

Later he rendered Srigurupalitho of Dikshitar in Padi, janya of Mayamalavagowla. He presented neraval and swarakalpana too. Emani Mahima in Thodi of Syama Sastry was the main. He presented neraval and swarakalpana. There was Navaragamalika varnam. Seethavara Sangeetha Gjnanamu in Devagandhari of Thyagaraja, Vandemataram in ragamalika and Muchukunta Varada Thyagaraja of Dikshitar in nottuswara.

Amritha Murali

On the fourth day Amritha Murali who had strong footage of great gurus, figured in the company of K.V. Krishna on violin, Burra Sriram on mridangam, Shyamkumar on kanjira. Blessed with fantastic vocal culture, Amruta opened with Sahana varnam. Karunimpa and moved to Marakathamanivarna in Varali presented with brief swarakalpana. Mahilo Amba Needu in Anandabhairavi was marked by her brilliant raga essay. Tanavaritanamu in Begada rare number of Thyagaraja ended with detailed swarakalpana. Sri Viswanadham Bhaje Ham of Dikshitar in Ragamalika, popularised by M.L.V., was a meditative rendition. After the rendition of Manaviyalakimpa in Nalinakanthi, Amritha went for the main Prakkala Nilabadi of Thyagaraja with raga and swara. Tani by the percussionists was stupendous.

S. Mahati

On the fifth day S. Mahati disciple of O.S. Thayagarajan gave a in the company of B.U. Ganesh Prasad on violin, Patri Satishkumar on mridangam and P.V. Ramanamurthy on ghatam. She opened with Ninu Kori Vasantha varnam and then sang Mahaganapathim in Nata. Then she presented Thyagaraja’s Pancharatna kirtana Endaro Mahanubhavulu in Sreeragam, matching the mood of saint’s Aradhana. Sreekaanta Neeyeda in Bhavapriya and Ranganayakam Bhavayeham’ of Dikshitar in Nayaki was followed by sub-main number O Rangasai in Kaambhoji with raga and swara presentation.

Later she presented Ragam-Tanam-Pallavi in Rasikapriya.

Raga delineation was neat. In the pallavi part she presented neraval and swarakalpana. Kandanaalmudal in Madhuvanthi of Chidmbaram, Manadhil Urudivaendum in Sindhubhairavi were other impressive numbers.

Ravikiran

On the sixth evening Chitraveena wizard Ravikiran gave an enchanting display of his rare art in the company of Padma Shankar on violin, Anantha R. Krishnan on mridangam and Nemani Somayajulu on ghatam. The play was so perfect that one could enjoy all the numbers Ravikiran played.

Thodi Varnam Yera Napai was followed by Vinayaka Ninnu Vina in Hamsadhwani. Later he played Manaviyalakimpa in Nalinakanti of Thyagaraja and Needu Charanamule in Simmendramadhyamam of K.V. Srinivasa Iyengar. He then presented rare number Geeta Vadya Natana in Natakapriya of Thanjavur Sankara Iyer and followed it with Thyagaraja number Enduku peddala’ in Sankarabaranam, his main number. Kriti play was expressive in which he presented neraval too. The swarakalapana was masterly presentation. He concluded his show with a tillana in Sindhubhairavi of Oothukadu Venkatasubbaiyer.

Vijay Siva

On the seventh evening Vijay Siva figured, accompanied by R.K. Sriramkumar on violin, Manoj Siva on mridangam and G. Chandrasekhara Sarma on ghatam.

He opened with varnam Vanajakshi in Kalyani and chose Sogasuga Mridanga Talamu in Sriranjani of Thyagaraja and Sree Sundararajam in Pantuvarali of Dikshitar to present later. Dasarendare Purandara in Yadukula Kambhoji, Ikanaina in Pushpalathika of Tirupati Narayana swamy, Innamum Orudaram in Kedaragowla of Gopalakrishna Bharati. Alapana followed by Virutham led way for the rendition of Ninne Namminanuof Syama Sastry in Thodi with neraval and swarakalpana.

After ‘Kanninum’ in ragamalika of Madhurakavi Azhvar, there was Virutham in Sindhubhairavi followed by Kandhamam Kadirkamam Thanil of Mayuram Viswanatha Sastri. Ninaiparthu Podum nenje in Punnagavarali of Vedanayakam Pillai were pleasant. Pavanaja Stutipatra in Sankarabaranam of Thyagaraja gave fine finish.

Malladi Brothers

The final concert was of Malladi Brothers — Sriram Prasad and Ravikumar in the company of V. Ramamurthy on violin, Mannarkoil J. Balaji on mridangam and P.V. Ramanamurthy on ghatam.

They opened with Vanajakshi, Ritigowla Ata tala varnam and moved to present Varasikhi Vahana a rare number of Thyagaraja in rare raga Supradeepam. Then they rendered popular Nadhasudha in Arabhi also of Thyagaraja.

After Mara Janani in Natakapriya of N.Ch. Krishnamacharyulu and Arunachalanadham in Saranga of Dikshitar they came out with a couple of Thyagaraja numbers, Paramaathmudu Velige in Vagadheeswari and Ikagaavalasinademi in Balahamsa leading to the main number Emanane Nee Mahima in Mukhari of Subbaraya Sastri with extensive raga and swara presentation.

Later they planned for RTP in Dvijavanthi and in ragamalika format comprised of Nata, Hamsanadam, Pavani and Surati.

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Printable version | Nov 30, 2020 9:03:52 PM | https://www.thehindu.com/features/friday-review/sarada-cultural-trust-concerts-review/article6886772.ece

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