Rishabh Kaushik acting at Narada Gana Sabha Mini Corridor.
| Photograph Credit score: Particular Association
What stood out in Rishabh Kaushik’s Nadhasangam live performance for Narada Gana Sabha held at its Mini Corridor just lately was his diligence. There was an excellent mixture of ragas and composers and Rishabh showcased his expertise adequately. He was accompanied by Indhalur Shyam Raghav on the violin and Vishnuvardhana Okay on the Mridangam.
The younger vocalist started with the full of life Kadanakuthoohalam varnam ‘Saranagata vatsale’ by Calcutta Krishnamoorthy. He then proceeded to current Saint Tyagaraja’s ‘Narada gana lola’ in Atana, set to Rupakam. Whereas the rendition was usually neat, swarathanams had been off the mark at instances.
After a crisp raga alapana of Vachaspathi, Rishabh introduced Papanasam Sivan’s ‘Paraathpara Parameswara’. He would do properly to remember the fact that splitting the compound phrase charanaaravinda (charana + aravinda) into charanaa and ravinda (within the anupallavi line sundara charanaaravinda ananda) would rob of each the linguistic magnificence and the which means. Whereas it might not at all times be potential to interrupt compound phrases completely whereas singing, owing to the calls for of musical aesthetics, the primary sangati no less than must be rendered correctly for the sake of expressing cognisance. And, it’s ‘Subrahmanyan thandhaiye’, and never ‘Subrahmanyam thandhaiye’ in conclusion of the charanam. Rishabh then negotiated the niraval and swara sequence section at ‘ari ayanum kaanaa’ with enough assurance.
Oothukadu Venkata Kavi’s poignant Ritigowla tune ‘Enna punniyam seidaeno’ in Misra Chapu was adopted by the principle kriti ‘Kaligiyuntegada’ by Tyagaraja. After a passable exploration of Keeravani, Rishabh introduced the tune competently, with niraval and swaraprasthara at ‘bhagavata agresarulaku ’. He capped off the recital with a transferring tillana in Misra Sivaranjani composed by Maharajapuram Santhanam.
Shyam Raghav’s bow work was tidy all through. His raga essays, each Vachaspathi and Keeravani, had been evocative. Vishnuvardhana’s percussion help was deft, and his thani for the 2-kalai Adi tala was vibrant.
Whereas the live performance underlined Rishabh’s promise, it additionally highlighted areas needing consideration, akin to dictional constancy, gamaka felicity, modulation, and emotional engagement with the compositions. With extra steerage, arduous work and publicity, he can aspire to ascertain himself within the subject.
