Opera unfolds visually

S. Sowmya’s ‘Ramanatakam’ aesthetically mixed Kavirayar’s compositions with Keshav’s drawings.

August 21, 2014 08:55 pm | Updated August 22, 2014 02:55 pm IST - Chennai

S. Sowmya. Photo: B. Jothi Ramalingam

S. Sowmya. Photo: B. Jothi Ramalingam

There are many versions of Srimad Ramayana, Valimiki’s being the mother of all. Arunachala Kavirayar studied all the available versions of Ramayana in depth.

Arunachala Kavirayar had studied Tirukkural too. He chose Kamba Ramayanam as it inspired him to write it as an opera in kriti format in simple Tamil, which could be enjoyed even by the uninitiated. One other reason being the insight it offered into the facets of life. He released his work at Srirangam temple.

S. Sowmya gave a brief introduction of Arunachala Kavirayar preceding the musical presentation, ‘Ramanatakam.’ This was the inaugural concert at The Artery’s four-day National Festival of Performing Arts, ‘Svatantra,’ at Kumararaja Muthiah Hall, Chettinad Vidyashram, R.A.Puram.

The highlight, apart from Sowmya’s explanations before each song was the display of Keshav’s visual art on the screen. Each drawing came alive with apt emotion, be it the sequence in the Bala Kandam, where Sage Visvamitra beckons the services of Rama and Lakshmana as guardians for his Vedic rituals or Akalikai attaining salvation, to name a few. Sowmya informed that the set of about 15 drawings were completed in a day’s time by Keshav.

A band of energetic and accomplished young singers supported Sowmya on stage, singing Kavirayar’s kritis in relay style. K. Gayathri started the proceedings with a breezy rendition of ‘Para Brahma Swaroopanay’ in Gowlipanthu that describes the Ramavatara Mahimai.

The simplicity in the language and use of viruittam by Kavirayar were highlighted by Sowmya. She also compared ‘Enakkul Iruppadhu,’ a ragamalika with nine charanams that runs through the entire Ramayana with that of Swati Tirunal’s ‘Bhavayami Raguramam’ and went on to present it upto the first Charanam in Kalyani.

As Rama enters Mithilai and walks through the streets with his brother, lead by the sage, Sita catches a glimpse of him from her palace and vice versa. Sandeep Narayanan sketched Bhairavi with a mellow approach. A welcome change for the listeners. M.S.Ananthakrishnan gave a spirited reply. Sandeep continued ‘Aaro Ivar Aaro’ in the same tenor with which he sang the raga, taking the rasikas along with him. Poongulam Subramaniam (mridangam) embellished the song with attractive nadais in the company of K. V. Gopalakrishanan (Ganjira). Bharath Sundar joined him in the niraval and swaras that followed. The complement of the phrases and swaras of the duo were impressive.

‘Aaaro Endrenaamalay,’ the kriti in which Visvamitra describes Rama in the darbar hall where the swayamvara is taking place was Sowmya’s choice for Nisha Rajagopalan who justified it. Her sruthi alignment added value.

The choral singing of ‘Kalyana Berikai’ in Kambodhi by the foursome was befitting the ‘Sita Kalyanam’. For a moment, Keshav’s depiction of Rama’s gait for this kriti came to life. The exchanges between a haughty Parasurama and Rama, known for his humility, infused brilliantly in the Bilahari kriti, ‘Mannil Arasar Polay,’ was the next by Sandeep Narayan and Bharath Sundar.

‘Ramanukku Mannan Mudi’ in Hindolam by Gayathri was preceded by Nisha’s raga alapana, a sincere effort by both, marked the beginning of the Ayodhya Kandam. Sowmya explained the sense of rhyme in kavirayar’s composition.

Poongulam Subramaniam’s beats for ‘Karumubu Muriththaarpol’ in the first charanam of ‘Yeppadi Manam’ (Huseni), where Sita begs Rama to take her with him for the vanavasam, were effective.

Packing the entire Ramayana in 150 minutes is a Himalayan task, apart from squeezing in explanations, ragas, kritis and swaras. Sowmya’s package was never found wanting. She juxtaposed the charanams of the song, ‘Enakkul Iruppadhu’ between the kandams and remembered to complete it too. The alapanas of Bharath Sundar (Kalyani) and K. Gayathri (Kedaragowla) showed their calibre. ‘Makutabhishekam’ in Surutti by the group was an emotional moment with the projection of Keshav’s Sri Rama Pattabhishkam.

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