The Carnatic music world is fortunate to have a few veterans who provide quality music despite the problems faced by their aging voices. The concert of Neela Ramgopal compelled attention because of the rich musical fare on offer. Mysore Maharaja’s ‘Ksheerasagara’ in Mayamalavagowla came through in majestic fashion, with a niraval at ‘Kumbha Sambhava.’ Her voice sounded fine in the middle and lower octave but showed struggle in the higher octave. She hit the notes right but the voice did not have power in those ranges. So what? Hers was a clear instance of triumph of spirit over flesh. She sang a brilliant niraval in the faster tempo.
Her scholarship came to the fore in her alapana of Nayaki which was essayed impressively by violinist Trivandrum Sampath Kumar also. Tyagaraja’s ‘Kanukonu Sowkhyamu’ unfolded at leisurely pace and had a soothing effect. Neela elaborated Purvikalyani (‘Padmavati Ramanam’, Oothukkadu Venkatasubba Iyer) with a fine feel for the raga. Some of her phrases with classy jarus were outstanding. She packed this song with all the standard kutcheri fare of niraval, swaras, koraippu and kanakku, as though suggesting that she seeks no concessions.
There was one more song of Oothukkadu in Jayantasri (‘Niradasama Nilakrishna’) after which she started the main raga, Kiravani. It was an alapana rich in ideas, blending the orthodox and the new age versions of the raga in a dignified manner. Sampath (violin) too played a lovely raga essay. Thooran’s ‘Punniyam Oru Koti’ was pleasing to the ear. Neela’s niraval at ‘Annai Kamakshi Pole’ was an object lesson on this form of improvisation, developed organically and sung with verve. During this phase of niraval and swaras, the entire team on the stage contributed to the enhancement of the concert.
T.K. Ramakrishnan (mridangam) and Tiruchi Murali participated enthusiastically in the lead up to the climax after which the thani followed. The exchanges between the two percussionists made for an interesting duel.
Lalgudi Jayaraman’s thillana in Darbari Kanada was sung with gusto by the veteran. Priyanka Prakash provided vocal assistance. Her faithful rendering of the kritis during the proceedings helped her guru take a few well-deserved breaks and re-join with a bang.
Kudos to this veteran’s spirit and energy!
Show stealerThe veena in the hands of a musician who pursues profound classical values and has adequate mastery over the instrument, truly acquires a divine aura. In a city, where rasikas are not too fond of instrumental music, least of all, the veena or nagaswaram, a Bengaluru boy stole the show at a moderately-attended concert. It was Ashwin Anand , who learns from the doyen, R. Vedavalli.
He played an outstanding alapana of Hemavati (Sri Kantimatim). It was elaborate, flowing, scholarly and inspired. His gayaki style was, indeed, a treat. After a sedate rendition of the kriti, he played a niraval that could have done a vocalist proud. Seldom do we hear a niraval of such quality from an instrumentalist. This session was also noteworthy for the percussive support provided by Kallidaikurchi Sivakumar on the mridangam. Ashwin’s next alapana of Kedaragowla (‘Venu Ganaloluni’) was impressive during the exploration in the lower register. Saveri was the main raga for the evening. Ashwin’s alapana was rooted in tradition and rich in gamakas; he used his mastery over the veena to portray the grandeur of the raga and refrained from any sort of display of empty virtuosity. That it had a mild somnambulistic effect on the listener was, perhaps, the only detraction. Tanam followed in the vainika mould.
A short ragamalika diversion forayed into Mohanam and Shanmukhapriya to enliven the proceedings. The tanam in Saveri concluded in the madhyama kala itself, consistent with the school of thought that there is no place in the tradition for the slow-motion ending of tanam, a common practice in contemporary concerts.
When Ashwin embarked on Dikshitar’s ‘Sri Rajagopalam’, it appeared that anyone who knew the kriti could hear the veena virtually sing it. He played a comprehensive spell of niraval at ‘Dheeragraganya’ and swaras in which he faltered initially but saw it through successfully in his renewed attempt. Sivakumar had made such a strong impression while accompanying the veena that it was no surprise that his thani came off well.
Nerkunam Sankar’s playing on the ganjira in a slow tempo is so attractive that he draws attention every time he picks up the instrument and plays. The duo played a short and sweet thani.
In summary, here is a dignified brand ambassador for the veena!
