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UNHURRIED Opting for a slow tempo, N.R. Parashuram unfurled nuances of ragas

His voice is possessed with characteristic intonations that may be warmly denominated and affectionately received as ‘old-fashioned’. The style too has a distinct traditional flavour. The gamut thrived mainly in the madhya sthayi, the taara sthayi amplifying predominantly the vocal constrains than emotions.

The concert started with “Mahaganapathim” (Thodi- Muthuswamy Dikshitar) and gave a very encouraging picture as to the overall outcome of the endeavour. The musician opted for a slow tempo, which went on unfurling the nuances of the raga and lyrics majestically.

The deep and undulating gamakas spread over the entire presentation brought out the characteristic lilt of the raga, and the overall grit the singer exhibited, demonstrated his scholarship.

Appropriate nilugades, synchronising with both the shruthi and the mood, amply elevated the desired experience one expects in any composition of Dikshitar.

Similarly, “Rama neeve gaani” (Narayani- Thyagaraja) in a pace that was somewhere between vilamba and madhyama kaalas, facilitated impressive expressions. The stately diction provided sufficient scope for the imaginative melody accompanist to fill up the spaces with artistic interludes.

However, the above encouraging impressions and observation could not last long as the concert progressed with the increase in pressure on the voice.

Deviations from shruthi started percolating into articulations, at times in the nilugades (in the Taara Shadja), and often while expanding the lyrics. “Manasa etulorthune” (Malayamarutha- Thyagaraja) was one such example.

Further, while he was elaborating the lyrics at “Kalilo rajasa”, the surging deep akaras obscured the lyrics significantly. However, such heavy akaaras resembling naabhi thanas stood for his commitment to dedicated sadhana.

Alapana in Keeravani (“Kaligiyunte”-Thyagaraja) shone mainly by virtue of the self-luminescence of the raga. Artistic and emotions-charged stresses on Rishabha, Nishadha and the Dhaivatha, complemented by apt jaaru gamakas, dhaatu and janti prayogas would have definitely triggered the dormant mood the raga embodied.

“Hanumana mathave” (Yamunakalyani-Purandaradasa), “Kathashravana maado” (Kalyanavasantha-Purandaradasa) and so on were other highlights.

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