FRIDAY REVIEW

Impressive recital

GUDIPOODI SRIHARI

CONFIDENT MUSICIAN Komanduri Krishna is a good vocalist too. Photo: Mohd. Yousuf

CONFIDENT MUSICIAN Komanduri Krishna is a good vocalist too. Photo: Mohd. Yousuf  

Komanduri Venkata Krishna's name is generally associated with violin. But if one listens to his full-fledged vocal concert one is bound to agree that he is perhaps one of the best vocalist among the younger generation artistes. This opportunity was provided by Nadabharati in its fest held at Thyagaraya Gana Sabha. Krishna's concert bore the stamp of a traditionalist and also that of emerging modernity. He displayed a stance of confidence and throw of his voice to its full capacity. He opened his concert with Kaanada Ata Tala varnam and then went for Thyagaraja's Pancharatna kirtana - Jagadananda Karaka in Nata. This broke the violinist image of the artistes and put him before us a very promising vocalist .

After Saraswati Namostute in Saraswathi, Krishna essayed a fragrant Sahana for Patnam's Rama Ika Nannnu. He retained in his rendition the natural flavour of the raga. Even this ability to weave the raga line through impressive moves was noticed in the rendition of Poorvi Kalyani. He rightly chose Syama Sastri's Ninnu Vinaaga. He also marked this rendition with good nereval and impressive swara structure.

Sarasa Samadana in Kapi Narayani served as a break for the delineation of Bhairavi. Muthuswamy Dikshitar's Balagopala was his choice number in this. His skilful rendition of nereval and swaraprasthatra established him as a vocalist to watch. The voco-violinist is the son of scholar andvoco-violinist Seshadri.

Then came the Ragam-Tanam-Pallavi in Bilahari. He did the pallavi in complex Khanda Jathi Triputa Thalam. And he did it well. The beauty lay in its brevity covering all traditional aspects. A Ragamalika Slokam gave the finishing touch.

Ramaraju Dinakar (violin), Srinivasa Gopalan ( mridangam) and Shyam Kumar ( kanjeera) lent matching support. The Tani avartanam of percussionists was enjoyable.

Nada Bharathi and Sri Thyagaraya Gana Sabha jointly presented Bhamidipati Lalitha Madhav in a melodious Carnatic vocal music recital at Sri Thyagaraya Gana Sabha , as part of a weeklong festival to commemorate maestros of bygone era. This programme was in memory of Sangeetha Kalanidhi M.S. Subbulakshmi. Lalitha was the student of the late M.S. Balasubrahmanya Sarma. Blessed with good vocal culture, she underwent training at Suguna Purushothaman of Chennai in art of presenting a concert.

Lalitha opened with Kambhoji Ata Thala varnam of Maharaja Swati Tirunal and went on to sing Om Ganapathaye in rare Sivasakti Raga. Her brief essay of Chandrajyothi was laudable. She rendered Sasivadana in this. Syamasastry's Pahisri in Anandabhairavi also proved a rare choice and she presented it with melodic lilt.

She made Poorvikalyani as one of her main efforts. She presented Dikshitar's Sri Visalakshi, the nereval and swaram made it an enchanting piece with free flowing swaras . Lalitha appeared to have made it a point to present some rarely heard pieces. The Rudrapriya piece and the composition Ambaparadevathe in it was one example. The Thodi that she took up later stood out as best melody. And she chose for this another rare kriti of Thyagaraja — Karuna Joodavamma. After the nereval, she presented swaras in variegated rhythmic patterns.

GNB's Mohana Krishna in Kadanakutuhalam preceded Lalitha's Ragam, Tanam and Pallavi in Mohana. The pallavi was in intricate Tisra Rupaka Thalam in Mishra Gathi. She presented it in three speeds. Good swara structure also marked the Pallavi, with a bit of raga chain. Nada Bharati's founder secretary, Srinivasa Gopalan says that he requested all the participants in the festival to render Ragam-Tanam-Pallavi, for the reasons of encouraging the artistes to revive this waning part of a concert. K.V. Krishna on violin and P V Ramana Murthy on mridangam lent good support.

Avadharu Raghupathe of Annamacharya in Khamas and a Jayadeva Ashtapadi marked the end part.

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