The annual Kalpathy Sangeetholsavam offered a grand feast to music aficionados in Palakkad. On the first day, dedicated to Swati Tirunal, Nemmara Brothers, N.R. Kannan and V.R. Anand, displayed their mastery and command over the nadaswaram.
Nemmara Brothers performing at the Kalpathy Sangeetholsavam.
The swift swaraprasatharas in the opening kriti ‘Gamganapathe’ (Hamsadwani) and the variety of sangatis in the chittaswaram in ‘Raghuvamsa’ (Kadanakuthoohalam) won applause. Their creative skills were seen in the detailed elaboration of Hemavathi. The pallavi in Adi tala and the cluster of ragamalika swaras were impressive. While innovations are welcome, their excessive indulgence in the same bordered on gimmicks and it looked like they were playing to the gallery. Rameswaram T.B. Radhakrishnan and Udumalai Manikantan (thavil) put up a spirited show but they were too aggressive.
It was a splendid show of woman power, when a team of women presented a heart-warming performance on the second day, dedicated to Annamacharya. Endowed with a mellifluous voice with a high range, Balamani Eswar showcased her respect for tradition in her vocal recital. Instead of elaborate alapanas, she preferred to render quite a number of appealing kritis such as ‘Rakshamam (Natta), ‘Bhuvaneswari Paadam’ (Begada), and ‘Paramapaavana’ (Ranjani), preceded by a melodious sketch of the raga, the moving ‘Enraikku Siva Kripai’ (Mukhari) and so on.
Balamani Easwar performing at Kalpathy Sangeetholsavam
Her mentor Trichy Ganesan’s style was visible in her in-depth portrayal of Kharaharapriya, and the delectable thanam and pallavi. The comprehensive swaraprastharas provided vim to the rendition. Charulatha Ramanujam (violin), Jayamangala Krishnamurthy (mridangam) and Sukanya Ramgopal (ghatam) were equally outstanding. The tani was a marvellous creation.
Sisters Ranjani and Gayathri lived up to their reputation as top ranking vocalists in their concert on the third day (Muthuswamy Dikshitar). Their music was an exhilarating blend of classicism, melody and aesthetics. The majestic varnam ‘Maathe Malayadwaja (Khamas), the delightful delineation of Reethigoula by Ranjani, followed by the kriti ‘Raga rathna’, appended with an orthodox niraval and copious swaraprastharas and the analytical description of Subhapantuvarali by Gayathri (kriti- ‘Neesamana’) were remarkable. Kamboji alapana by both opened up new vistas in manodharma with captivating akaaras and sangathis. The duo reached a crescendo during the sprightly niraval and kaleidoscopic swaraprastharas in the kriti, ‘Thiruvadi Saranam’. That violinist Trivandrum Sampath has grown in stature was amply illustrated in his accompaniment. Manoj Siva (mridangam) and Udupi Srikanth (ganjira) provided brilliant support.
Ranjani and Gayathri performing at Kalpathy Sangeetholsavam
Pattabhiram Pandit’s vocal recital on Purandaradasa day was good in parts. The positive features of his concert were the bhava-laden classical renditions of ‘Entaro’ (Sri), ‘Dinamanivamsa’ (Harikamboji) , both Tyagaraja kritis, the pleasing alapana of Pantuvarali followed by the evocative ‘Ramanatham bhajeham’ and the moving ‘Mosapovathella’ (Subhapantuvarali). His elaboration of the main raga Madhyamavathi showcased only a few traits of the raga, whereas violinist Viju S. Anand brought out its full swaroopa in his version. However, the niraval and swaras in the Syama Sastri krithi, ‘Palinsu Kamakshi’ were praiseworthy. The vocalist’s casual approach marred the overall impact of the concert.
The percussion team of Palakkad Maheshkumar (mridangam), Mangad Pramod(ghatam) and Payyanur Govinda Prasad (morsing) performed with coordination, though they were too noisy at times.
Kunnakkudi Balamuralikrishna revealed his originality in his vocal concert on the fifth day, earmarked as Syama Sastri day. ‘Ninne Bhajana’ (Natta) and ‘Narasimha Mamava’ (Arabhi) were apt choices for the initial phase. His picturisation of Varali, interspersed with exquisite akaaras, reinforced his classical base.
Kunnakkudi Balamuralikrishna performing at the Kalpathy Sangeetholsavam.
His keen sense of kalapramana was evident in the vibrant niraval in the Syama Sastri kriti, ‘Kamakshi’. ‘Kalikiyunte’ was noted for the lucid niraval and vivid swaraprastharas; it also proved the vocalist’s expertise in laya. Akkarai Subbulakshmi impressed listeners with her sweet raga versions and swara passages. R. Sankaranarayanan (mridangam) and Kadanad Ananthakrishnan (ganjira) displayed their skills admirably.
Tyagaraja Day commenced with the renditions of Pancharatnakrithis by a group of musicians. Gifted with a powerful voice, Vishnudev Namboodiri exhibited his virtuosity in ample measure. His development of Poorvikalyani, punctuated with delectable phrases and his interpretation of ‘Paralokasaadaname’ suffixed with unorthodox swarakorvais were laudable. He was at his best in his magnificent alapana of Sankarabharanam. The weighty niraval and breathtaking swaras in ‘Manasuswadeena’ bore the stamp of a seasoned musician. The RTP in Kaanada was an ingenious presentation. Sindhu Dileep (violin), Babu (mridangam) and Perukavu Sudheer (ghatam) played their roles with aplomb.
On the concluding day (Papanasam Sivan), Adoor P. Sudarsanan built up a strong edifice to his vocal recital with eloquent presentations of ‘Pranamamyaham’ (Gowlai), ‘VaralakshmiNeeye’ (Salaka Bhairavi) and ‘Sobillu’ (Jaganmohini). He painted a wide canvas of Thodi, adorning it with numerous colourful shades which depicted the distinctive flavour of the raga. Preceded by a brief thanam, he rendered a simple pallavi, suffixing it with attractive swara combinations. The beauty of Sindhubhairavi emanated nicely in the appealing Swati Tirunal piece ‘Visweswaru’. Avaneeswaram S.R.Vinu (violin), Changanassery Harikumar (mridangam) and Tenkasi Paramasivam (ganjira) gave ample support.
Adoor P. Sudarsanan performing at Kalpathy Sangeetholsavam
In the five first slots, Bharath Narayanan, Mahathi and Bhairavi acquitted themselves creditably in their enchanting vocal recitals. The music department students of Government College, Chittur, and Chembai Memorial Government Music College performed well with good coordination.
The fete was jointly organised by District Tourism Promotion Council and Kerala Sangeetha Nataka Akademi.
