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Flowing with majestic grace
UNNIKRISHNAN GAVE an outstanding recital, bringing out the essence of the ragas, and employing time-honoured phrases and gamakas. The Panthuvarali keerthana, "Vadera Deivamu" (Tyagaraja) was sung crisply with kalpanaswaras, after which Dhanyasi raga essay was comprehensively rendered and Tyagaraja's rather infrequently heard "Nee Chittamu Nischalamu'' was treated in an attractive manner.
Devagandhari alapana was superb and the famous kriti, "Ksheera Sagara Sayana'' (Tyagaraja) was gone through majestically, in a slow fashion, with characteristic labyrinthine sangatis. Saveri raga alapana was given a detailed, elaborate treatment with delightful raga-filled phrases. Dikshitar's gem of a composition, "Sree Rajagopala'' was sung, keeping in view the grandeur of the raga and the sahithya. Neraval and kalpanaswaras for "Dheeragraganya'' were done competently.
Varadarajan's violin accompaniment was of high quality, with soft, sweet bowing and the ragas flowing with majestic grace all the time. His contributions in Dhanyasi and Saveri deserve special mention.
The percussion trio _ Srimushnam Raja Rao on the mridangam, B. S. Purushottaman on the kanjira and Vaikkom Gopalakrishnan on the ghatam gave excellent and efficient support, enhancing the value of the concert.
Pleasant and impressive
T. V. Sundaravalli has a pleasant, shrill voice. She took some time to warm up after which she showed her mettle. "Naradamuni Vedalina'' (Tyagaraja-Pantuvarali) was sung competently in adi tala-tisra nadai, with neraval and swara passages for the meaningful phrase, "Narayana Namamu Parayana."
Sankarabharanam raga essay was full of pleasant characteristic sangatis and the grand composition of Dikshitar, "Akshaya Linga Vibho" was handled well. Neraval and kalpanaswaras for "Badaree Vana Moola'' were impressive.
Radha Sundaresan gave violin support, which was satisfactory on the whole, but on occasions the playing seemed hesitant. In some of the sancharas in Pantuvarali, the Daivatha note was a little higher than the Suddha Daivata sthanam which characterises the raga, and this was probably a finger slip, as the note came out correctly on other occasions. Bangalore Ravi gave able mridangam support.
Unique style
R. Surya Prakash has, over the years, developed his own unique style of rendition. He has a resonant impressive heavy voice, which he employs efficiently to reflect the nuances and subtle expressions of Carnatic music. Arabhi alapana brought out the raga adequately and the keerthana, "Oraarumugane'' was rendered crisply with attractive neraval and swaraprasthara for "Onkaarapporule''. Kambhoji, the main item of the day, featured a balanced satisfying raga essay, decorating it with delectable karvais and flawless brighas, followed by Dikshitar's "Marakathavallim,'' adding engaging kalpanaswaras.
Neyveli Radhakrishnan gave violin support with full involvement. Mridangist Melakkaveri Balaji, who was ably supported by Tiruchi Murali on the ghatam, played his percussion phrases softly and effectively, embellishing the recital.
In traditional format
Mangalam Sankar, despite limited voice power, brought out the essence of the ragas effectively. "Appa Rama Bhakti'' (Tyagaraja-Pantuvarali) was sung in traditional format, with neraval and swara exercises for "Lakshmi Devi Valachuna''. Tyagaraja's beautiful Lalgudi Pancharatna, "Gati Neevanine Kori" (Todi) was satisfying. Hemamalini gave good violin support. T. R. Sundaresan's mridangam was soft, soothing and efficient, and he was ably assisted on the ghatam by Nanganallur Swaminathan.
S. R. GIRIDHAR
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