Friday Review
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BHARAT KALACHAR
Plethora of swaras
G.SWAMINATHAN
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Vocalist Kuldeep’s impeccable knowledge in percussion helped him in casting cascading swara sets.
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Photo: S.Thanthoni
Quality stuff: Kuldeep Pai.
He is a singer who has trained himself in the supporting techniques also with his vocal practice. Kuldeep M.Pai is on the threshold of the new league of classical musicians who seems to grow better with every programme.
Qualified with this year’s ‘Yuva Kala Bharathi’ title from Bharat Kalachar, Kuldeep, established his sincere compliance to providing quality musical miens in his concert at Bharat Kalachar. In his morning concert, the 61st Melakarta raga, Kanthamani, was featured with eminence. Kuldeep’s sancharas in this raga were careful, beguiling and designed with grace and poise. Ragas with vivadi swaras invariably demand high vocal competence since the distinction between the neighbouring melodies is very subtle. But, Kuldeep Pai elicited the rare charm of Kanthamani in a highly relishing way. The solitary kriti in this raga by Tyagaraja ‘Palimthuvo’ and his kalpanaswara suit at ‘Paramartha Magu Nija Maruga Neenu’ was another attempt by him where he came out with flying colours.
The main Thodi expansion was melded with good part of raganubhava with perfect embellishments at the right junctures. ‘Thamadham Aen Swami’ of Papanasam Sivan geared up with a strong niraval at ‘Aavalodu Un Arul Meva Ve Manam Aasai Kondu Miga Vaduthu’ in the uncommon charanam starting with ‘Paavaiyira Mayal.’
Effortless and accurate
Kuldeep’s impeccable knowledge in percussion helps him in casting cascading swara sets in right degree and they beautifully culminate into an amazing korvais to touch the finale. His jumps in swaras between upper, middle and lower registers are effortless and accurate. Similarly, his alapana resides on to create a perfect blend of karvai and brigas apt to the raga’s spirit.
The vibrant plethora of kalpanaswaras in the starting ‘Sogasugamridanga’ in Sriranjani and the torrential flow of swaras in Kanthamani and Thodi fully asserted his comprehension of calculating skills. Nevertheless, a word of caution; the excitement may propel an youngster like Kuldeep to go overboard and it is better that he always keeps a close vigil on self control.
V.Suresh Babu on the violin was not just helpful but also appreciative of the young singer in every possible way and proved that he could nurture the ragas like Kanthamani with the same élan and creativity of the young vocalist. Erode K.S.Nagaraj and N.Narasimhan on mridangam and ghatam respectively got slightly carried away at times but their overall effect was a delectable fare.
There were relaxing kritis like ‘Divakara Thanujam’ (Yadukulakhambodi), ‘Ekambaresa Nayike’ (Suddha Saveri), ‘Sujana Jeevana’(Khamas) and ‘Krishna Nee Begane’ (Yamunakalyani) in the concert schedule of Kuldeep.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
