Vidya Kalyanaraman and Vasudha Ravi with Violinist Bombay Madhavan, B. Ganapathyraman on the mridangam and N. Sundar on the morsing and tabla.
| Photograph Credit score: Particular Association
Vasudha Ravi and Vidya Kalyanaraman collaborated just lately for his or her Gokulashtami particular thematic live performance, ‘Colors of Krishna’, hosted by Hamsadhwani. Their musical providing was a mix of conceptual depth, narrative readability, and melodic excellence, portray a vivid and alluring image of Krishna’s multifaceted persona.
The chemistry between Krishna and hues is a fascinating one, starting with His title, which implies black or darkish blue. The golden crown, peacock feather, jewels and gems adorning him , Vanamala, flute, and the yellow apparel are just some examples of his flamboyant bodily attributes.
‘Vanna maadangal’ (vibrant mansions) is how Periyazhwar begins the chapter describing Krishna’s start, which, he says, triggered within the neighbourhood, wild celebrations like spilling oil and turmeric powder on each other. This, maybe, is the origin of Holi, the competition of colors.
Krishna’s myriad traits
Vasudha and Vidya offered 12 songs in eight languages — Sanskrit and Tamil (three every), Hindi, Telugu, Kannada, Marathi, Brij and Malayalam. The primary half showcased Krishna’s myriad traits reminiscent of sweetness, naughtiness, leaving gopikas eager for his love, tackling Radha’s faux anger and being a garland of radiant gems. The second half highlighted his roles such because the saviour, flautist, majestic bridegroom, the charmer, the omnipresent being and the heartthrob.
The recital opened with ‘Madhurashtakam’ by which Vallabhacharya extols Krishna because the embodiment of sweetness. The singers rendered the hymn with devotional fervour and serenity. Nonetheless, it’s price noting that whereas many variations have it as ‘Madhuradhipathe’ within the fourth line, the proper phrasing needs to be ‘Mathuradhipathe’ (the chief of Mathura, town).
Oothukadu Venkata Kavi is an automated selection for the theme and his ‘Neethaan mechikolla venum’ in Sriranjani describes Yasodha’s exasperation in coping with Krishna’s mischiefs. The creator quotes the foster mom as saying that one minute of Krishna’s pranks appeared like an aeon. The energetic swara exchanges on the pallavi line had been in tune with the tone of the music.
Shift in temper
The Meera Bhajan ‘Saadho saadho’ in Ahirbhairav introduced out the cowherd ladies’ yearning for Krishna. An evocative shloka in Mukhari got here up subsequent as a prelude to the Ashtapadi ‘Vadasi yadi kinchidapi’ in the identical raga. Krishna coaxes a sullen Radha by addressing her ‘Priye, charuseele’ (O my love! O my virtuous one) and makes an attempt to patch up together with her. The lilting Annamacharya kriti in Chenjurutti ‘Muddugare yasodha’, which compares Krishna’s acts to an array of gems of various hues, offered a contrasting temper.
Vidya and Vasudha shared a short alapana of Subhapantuvarali earlier than rendering Purandaradasa’s ‘Neene anadhabandhu’. It was a poignant exploration of Krishna’s stature as the final word refuge, echoing the message of give up from the Bhagavad Gita. (‘Maam ekam saranam vraja’ — give up unto me solely). The niraval and swara exchanges at ‘Gati neene Krishna’ underlined the raga’s emotional depth, additional enriching the presentation.
The duo then captured Krishna’s mesmerising methods with the bamboo, presenting Bhanu Dasa’s gavlan abhang ‘Vrindavani venu’ in raag Bhimplasi, with verve.
Vibrant tani
After alternately delineating one other raga, this time Kamboji, the artistes sang a shloka as a prelude to Narayana Tirtha’s Kalyana Tarangam ‘Alokaye rukmini kalyana gopalam’. It depicts Krishna as a bridegroom in all his splendour. A crisp swaraprastaram in two kalam at ‘Dwarakapura mandape’ was adopted by a strong thani by B. Ganapathyraman on the mridangam and N. Sundar on the morsing, with the latter donning a double position (tabla) within the live performance.
Violinist Bombay Madhavan persistently matched the vocalists with mellifluous notes, whereas the percussion companions’ rhythmic strokes enhanced the live performance general.
A Surdas bhajan on rasleela in Brij ‘Gopi gopala bala’ in Gamanasrama; ‘Kaakkai siraginile’ by Bharatiyar in Brindavana Saranga (expressing Krishna’s omnipresence); Lalgudi Jayaraman’s Madhuvanthi thillana; and ‘Krishna krishna mukunda janardhana’ by Poonthanam Nambudiri in Yamuna Kalyani supplied additional selection on the again finish of a memorable live performance.
