Kalasagaram arranged the vocal concert of N. Ramamurthy, in memory of his guru B.R.C. Iyengar, at Keyes High School, Secunderabad. It was a stimulating concert with aesthetic values. The concert commenced with Viriboni, Ata talam varnam in Bhairavi by Pachimiriyam Adiayappa in an engaging one with the able accompaniment. This was followed by Papanasam Sivan’s Sri Vatapi Ganapathiye Nin Thiruvadiye Sharanam in Sahana, rendered with clarity of Sahitya.
This was enriched with kalpanaswaras displaying rich manodharma, with aesthetic appeal. Evvarikai Avataramettitivo in Devamanohari of Thyagaraja was a prayer to the Lord Rama for taking birth on this land. Then Ramamurthy went for Dikshitar’s majestic Begada kriti Thyagaraja Namaste with élan. Varali and Todi were taken up for raga alaapana. N. Ramamurthy came out with wholesome imageries in the tara, madhyama and mandra sthayi phrases in Varali and Thodi. In keeping with the Margazhi flavour, he rendered Aazhi Mazhai Kanna , the ‘Tiruppavai Paasuram’ with neraval and swarakalpana. The accompaniment by B. S. Narayanan on the violin, D.S.R. Murthy on the mridangam and B Janardhan on the ghatam gave laudable support throughout proficiently complementing the mood set in by the vocalist. The tani avartanam was subtle and calculated presentation that followed the neraval.
Clarity in sahitya expression, perfect grammar and rich vocal verve in melodic line contributed to the success of the concert elevating it to new heights.
Renganatha Sharma
Renganatha Sharma
Madurai-based Renganatha Sharma gave a concert as part of Sri Kartikeya Gana Sabha’s annual fest. He was accompanied by R Dinakar on violin, P. Jayabhasker on mridangam and K.V. Ramakrishna of Tenali on ghatam.
Sharma started his concert with a Tamil composition Senthilvai Muruga in the raga Hamir Kalyani followed by Jaya Jaya Swamin of Narayana Teertha in the raga Naata. The next was a Thyagaraja kriti Tulasamma in the raga Devagandhari. Alapana was done briefly before taking up the kriti. Kriti rendition was beautiful and diction, flawless. The swarakalpana for the pallavi elevated the overall expression.
The submain piece was ‘Ardhanareeswaram’ in Kumudakriya of Muthuswamy Dikshithar. The raga alapana was in detail and mellifluous and expansive.
Kriti rendition was expressive and the swarakalpana at the line Aagamaadi sannutam added lustre to the rendition.
The main piece of the concert was Kartikeya Gangeya in the raga Thodi of Papanasam Sivan. It was expanded in myriad ways in great detail. Kriti rendition too was impressive with neraval presented taking pallavi line and the swarakalpana that followed done in vilamba, druta kalas soaked in raga bhava. Jayabhaskar on mridangam and Ramakrishna on the ghatam kept good company and their tani avartanam was ineresting. The entire concert was a listener’s delight.
Baby Sreeram
Baby Sreeram
Baby Sreeram was featured on the second day in the company of Mallela Tejaswy on violin, P.S. Phalgun on mridangam and Sri Shyam Kumar on kanjira.
Baby started with Ata tala varnam Sarasijanabha in Kambhoji. She then presented Jaya Jaya Padmanabha in Sarasangi marked by a brief raga and neraval and swarakalpana towards the end. The whole rendition was impressive. This was followed by Thyagaraja’s rare number Manasaa Mana Samardhyamemi in the raga Vardhani. Then she detailed raga Ranjani in segments in good detail. Thyagaraja’s kriti Durmarga charadhamula was her choice number, with swarakalpana. The rhythmic support elevated its appeal. Neevada Negaana in Saranga of Thyagaraja with brief swarakalpana was well received.
The main piece of the concert was Kamalambika Asrita Kalpalatike in Todi of Dikshithar.
