Chennai

With all the nuances intact

Palghat Ramprasad vocal concert at Raga Sudha Hall in Chennai. Photo: K.V. Srinivasan

Palghat Ramprasad vocal concert at Raga Sudha Hall in Chennai. Photo: K.V. Srinivasan   | Photo Credit: K_V_Srinivasan

Palghat R. Ramprasad showed his commitment to classicism

Palghat R. Ramprasad performed last week, after a brief lull. His major strength is a perfect masculine voice that effortlessly traverses across registers. Presenting a concert for Nadopasana Trust at Ragasudha Hall, he ventured into two exotic ragas and handled them with grace.

The first one was Devagandhari. The detailing was done mainly through several branches of brigas. Tyagaraja’s rarely heard ‘Sitavara Sangita Gnanamu’ was a delightful choice. Another pleasant feature of this kriti was that Ramprasad went in for a niraval ornamented with poignant pauses on ‘Akasa Sareeramu’ sans the swara suit.

The second raga taken up for alapana was Hamir Kalyani. The well-conceived surfeit of akaras and ritzy phrases exclusive to the raga, created a beautiful aura. ‘Purahara Nandana’ of Dikshitar and the swarakalpana landing on madhyamam gave a stimulus to the proceedings. For the main course, Ramprasad had chosen Mukhari. The development of the raga at a sedate pace presented a finely etched image of Mukhari. Ramprasad regaled the audience through his expertly envisionedand emotionally loaded phrases. With his voice in full control, the compelling karvais and freewheeling brigas painted a wonderful portrait of Mukhari. Subbaraya Sastri’s ‘Emaninne’ added value to the presentation. Ramprasad could indulge in a luxurious niraval on ‘Samaja Kamini’ segued to an engaging swaraprastara. Interestingly, swaras woven with madhyamam as pivot, showcased Ramprasad’s musical acumen and commitment to classicism.

Other remarkable offerings included ‘Evvari boda’ Abhogi varnam, ‘Sivaloka nathani kandu’ in Mayamalavagowla (Gopalakrishna Bharati), ‘Gopalaka pahimam’ in Bhoopalam (Swati Tirunal), ‘Ma Ramanan’ in Hindolam (Papanasam Sivan), ‘Kanakasabai thirunadanam’ in Suruti (Gopalakrishna Bharati). Versatile violinist S. Varadarajan extended support to the voWcalist’s vision and approach. Neyveli Narayanan on the mridangam and Papanasam Sethuraman on the ganjira elevated the quality of the concert; their tani was a treat.

Why you should pay for quality journalism - Click to know more

Related Topics
Recommended for you
This article is closed for comments.
Please Email the Editor

Printable version | Apr 1, 2020 2:09:50 AM | https://www.thehindu.com/news/cities/chennai/With-all-the-nuances-intact/article17313013.ece

Next Story