Fascinating swara format

PRESENTING THE contents of his recital in a style of vocal artistry pleasing to the audience, T. V. Sankaranarayanan endeared himself as an entertaining performer. He sang with zest to invest his performance with an ingenious flourish of details. His recital was featured by Asthika Samajam of Tiruvanmiyur at Atma Gnana Nilayam on Kalakshetra Road.

Completing the opening piece, ``Pranatosmi Devam Vinayakam'' (Nattai) with a free flow of fascinating swara formats, the vocalist rendered ``Nityarupa'' of Thyagaraja in Darbar in a lively diction. Sankaranarayanan's description of Bilahari was bright and brisk and revealed his clear imagination of the details of its rakthi. The piece, ``Narasimha Nannu Brovave'' of Tyagaraja succeeded it in a smart musical form. The singer's survey of Kirvani drew admiration as he endeavoured to trace a vast domain of it in terms of expressions lucidly reflective of its classical Carnatic identity reckoned with convincing grace. The vocalist suffixed the raga survey with an impressive portrayal of the piece, ``Punniyam Oru Kodi Purindheno'' of Periaswamy Thooran on Kanchi Kamakoti Acharya. The phase of this piece included stimulating neraval and swara texts.

M. R. Gopinath supported the recital skilfully on the violin. He drew deft sketches of Bilahari and Kirvani. His swara exercises in Kirvani were tasteful.

Tiruvarur Bhakthavatsalam (mridangam) and V. Nagarajan (kanjira) enhanced the recital's liveliness with exciting percussion patterns. The tani played by them at the conclusion of the piece in Kirvani was attractive with interesting laya intricacies.

Devout and classical

The vocal recital of N. Vijay Siva featured by Srimad Valmiki Ramayana Prakasaka Samiti at the auditorium of Sri Krishna Gana Sabha was devoted to an exposition of Sanskrit kritis composed by vaggeyakaras of the South in praise of Rama. Singing in the Samiti's series of Ramayana Moola Parayanams, upanyasas and music recitals, the vocalist elated the gathering with his devout rendition of resplendent sahityas depicting scenes from the immortal epic. The classical force with which the singer presented the pieces, ``Saketanagara'' (Harikambodi, Mysore Sadasiva Rao), ``Raghupathe'' (Sahana, Thyagaraja) and ``Janakipathe'' (Karaharapriya, Papanasam Sivan) evoked enthusiastic listening. The sketch of Sahana drawn by the vocalist was expressive of the commendable level of his appreciation of its charm in a sufficiently reposeful style of raga delineation.

Vijay Siva's account of Todi was elaborate with emphasis on its seasoned shapeliness as a singularly appealing raga of the South. The piece, ``Ramachandraya Namaste'' of Muthuswamy Dikshitar was rendered by him with a sharp focus on its textual and musical shine. R. K. Sriramkumar extended enjoyable support on the violin. His exercises in Sahana and Todi were elegant.

N. Manoj Siva accompanied the recital agreeably on the mridangam. The terseness of his tani drew distinct praise.

Robust with ingredients

Palai C. K. Ramachandran's vocal recital for `Sravanam' at Tirumala Tirupati Devasthanams Information Centre in T.Nagar, was robust with a good measure of rigorous ingredients. His delivery of the kritis, ``Vallabhaanayakasya'' (Begada, Muthuswamy Dikshitar), ``Brahmakadiginapadamu'' (Mukhari, Annamacharya) and ``Enthukunirdaya'' (Harikambodi, Tyagaraja) was expressive of their classical excellence.

Ramachandran displayed his imaginative skill delectably through a painstaking survey of Kalyani. The piece, ``Pankajalochana'' of Swati Tirunal was suffixed to it in a rhythmically engaging and musically satisfying version. The vocalist's execution of ``O Jagadamba'' of Syama Sastri in Anandabhairavi was reflective of the raga's singular splendour. the recital's major raga, Kambodi was handled by Ramachandran dexterously with a commitment to provide a profile of it in enticing Carnatic colours. It was followed by a planned presentation of the piece, ``O Rangasayee'' of Tyagaraja completed with cosy neraval and swara passages.

V. V. Ravi supported the recital ably on the violin. His portrayal of Kalyani and Kambodi was lucid.

Madirimangalam Swaminathan enlivened the recital with his tuneful tekhas on the mridangam. The cogency of the expressions played by him in the tani in combination with colourful gumkis drew special praise.

- R.V.