Dhanush Anantharaman with Naga Sai (violin) and R.S. Pranav (mridangam)
| Picture Credit score: Ok. Pichumani
For aspiring younger musicians, each live performance alternative is an acid take a look at. When aggressive spirit is the ruling theme of an occasion that’s held beneath the auspices of The Music Academy, the problem looms bigger. On the finish of the thirty fourth Spirit of Youth collection, devoted to the reminiscence of Ambujam Krishna, and held not too long ago on the Kasturi Srinivasan Corridor, all the ten most important artistes and their accompanists would have emerged wiser for the expertise, regardless of whether or not they landed the prize or not.
In a nice irony, the appeal of the old fashioned music got here as a whiff of contemporary air in Dhanush Anantharaman’s vocal recital, which started with Tyagaraja’s ‘Tulasee dalamulache’ in Mayamalavagowla. The frilly niraval and kalpanaswaras on the customary ‘Saraseeruha punnaaga’ had been a precursor to what was in retailer.
Dhanush Anantharaman managed to eschew repetition of the attribute vakra phrases in his Kannada alapana.
| Picture Credit score:
Ok. Pichumani
Dhanush aced the Kannada alapana with finesse, largely managing to eschew inordinate repetition of the attribute vakra phrases even whereas holding the raga id intact. Muthuswami Dikshitar’s ‘Sri Mathrubhutam’ adopted with brisk swara sequences at ‘Vaasita nava javanti pushpa’.
The younger vocalist sped by way of ‘Varanarada’ in Vijayasri earlier than plunging into the magnificence of Bhairavi, presenting an akara and gamaka-filled delineation of the raga intimately forward of a soulful rendition of Syama Sastri’s ‘Sari evaramma’. Niraval and swaras at ‘Syamakrishna paripalini’ in two speeds in an excellent kalapramanam had been the spotlight of the live performance. The adoption of the phrase from the mudra line of the identical composer’s swarajathi within the keezh kaalam lent a pleasant contact.
After ‘Jagathinai kaathidum Janardhana’ by Ambujam Krishna, the live performance concluded with a Thiruppugazh tuned in Senchurutti and Nadanamakriya.
Naga Sai displayed a great measure of sensitivity on the violin, whereas Pranav offered enthusiastic percussion help and his thani in Khanda Jhampa was absorbing.
Neat raga essays
Supriya Raja dealt with properly the Thodi and Kalyani raga essays.
| Picture Credit score:
Ok. Pichumani
A glowing swara avartanam on the pallavi opening of ‘Palimparavadelara’, a Pallavi Seshayyar composition in Arabhi, set the tone for Supriya Raja’s live performance wherein she was accompanied by M. Meenakshy Dev and B.N. Kasinadh on the violin and mridangam respectively.
Supriya selected for exploration two ragas — Thodi and Kalyani — which might be on the reverse ends of the swara spectrum, dealing with each with elan. After a tidy raga essay of Kalyani, Supriya flowed seamlessly into Patnam Subramania Iyer’s ‘Nijadasa varada’, the place the anupallavi line ‘Bhujagadhipa sayana’ was taken up for an expressive niraval.
Then she breezed by way of Dikshitar’s ‘Ramachandram bhavayami’ earlier than delving into Thodi, the night’s most important raga, which was constructed up with structural coherence. Supriya’s interpretation of Tyagaraja’s ‘Emi jesithe’ was marked by deep bhava, adopted by a skilful niraval and fascinating swaras at ‘Varamantramanyulaku’ within the charanam.
Supriya Raja accompanied by M. Meenakshy Dev (violin) and B.N. Kasinadh (mridangam).
| Picture Credit score:
Ok. Pichumani
‘Ododi vanden Kanna’ in Dharmavathi was Supriya’s alternative for the necessary composition by Ambujam Krishna. With Kalyani and Dharmavathi having the identical uttaranga — in reality, a solitary notice (ga) differentiates the 2 — a track in another raga would have fitted the invoice higher. The full of life recital got here to a detailed with Papanasam Sivan’s Behag thillana.
Violinist Meenakshy elevated the live performance with elegant artistry. Whereas her Kalyani and Thodi had been insightful and resonant, she labored in excellent tandem with Supriya in the course of the niraval and swara exchanges. Kasinadh too performed a great hand all through, however a minor hiccup in his Misra Chapu thani.
Bhava-rich rendition
Atchayaharini’s niraval and swaraprastaras for Pantuvarali and Bhairavi had been spectacular.
| Picture Credit score:
Ok. Pichumani
B. Atchayaharini’s vocal efficiency was noteworthy for her sound understanding of the musical values, bhava-rich rendition and deft voice modulation. After warming up with Pallavi Gopala Iyer’s varnam in Surati, she stepped on the pedal by firing away swara salvos at ‘Saraswathi’ in Puliyur Duraiswami Iyer’s ‘Sarasiruhasanapriye’.
The meditative Pantuvarali and Tyagaraja’s ‘Sambho mahadeva’ and an engrossing Bhairavi adopted by the Dikshitar masterpiece ‘Balagopala’, with the latter being the principle quantity, fashioned the nucleus of the live performance. Atchayaharini did a commendable job in each, with niraval and swaraprastaram at ‘Sambho Mahadeva’ and ‘Neela neeradha sareera’. Nevertheless, lingering slightly extra within the decrease octave will make her raga alapanas extra rounded.
Atchayaharini accompanied by Adithya Anil (violin) and Arvind Raman (mridangam).
| Picture Credit score:
Ok. Pichumani
Adithya Anil on the violin and Arvind Raman on the mridangam embellished the recital with their beneficial help. Adhithya’s raga essays had been tuneful, and he was equal to the duty together with his responses within the niraval and swara sections too. Arvind got here up with a sturdy thani in two-kalai Adi talam.
In between, ‘Kanna vaa Manivanna vaa’, a pancha ragamalika track by Ambujam Krishna — that includes Kapi, Sama, Vasantha, Neelambari and Surutti — added a vibrant splash of color. Poochi Srinivasa Iyengar’s thillana in Poornachandrika introduced Atchayaharini’s live performance to a spirited shut.
