Navarathri continues to draw big gatherings and dynamic participation of musicians and dancers. The Sri Shankar Mutts, Sri Gayathri temple, Yashwanthapura, Circle Maramma temple and other places played host to performances not only eulogising Goddesses and Gods, but also in showcasing outstanding talent.
Veteran vocalist R K Srikanthan has left behind a great legacy in his son R S Ramakanth. He was splendid at his recital on Thursday at Sri Avani Shringeri Math, Basaveshwaranagar. His music and rendition reflected delicacy and strength. The music built up gradually from a quiet opening with a rare Andolika varna to exciting melodies and exquisite compositions.
The selection of the krithis and ragas was superb. The rendition of compelling Todi Navavarna krithi (Kamalambike Ashrithakalpalatike Chandike) moved the audience. His expertise was apparent when he sang Kanjadalaayataakshi in Kamalamanohari and Amba Mahavani, another Dikshitar gem. Dwijavanthi raga was explored with alapana and swaras in Akhilandeshwari. In his rich, expressive voice, he rendered Brihaspathi (Lord Guru) Navagraha krithi in Athana.
He bewitched the audience with his stunning, detailed presentation of Dharmavathi raga. He brought out the raga bhava with stresses on the pivotal notes and clarity of phrasing. A rare krithi, Durgadevi samrakshamam was embellished with neraval and a scholarly swaraprastara. The Kannada devaranama Kodubega divyamathi was sung with bhava in Vasantha raga. His Saraswathi shloka Yaa kundendu tushara haara in Kambhoji, Mohana and Madhyamavathi ragas drew applause. Mattur Srinidhi (violin) and C Cheluvaraju (mridanga) exhibited praiseworthy interpretative and accompanying techniques.
Melodious voice
On the fifth day of Navarathri, an enthusiastic vocalist, Shilpa Shashidhar, packed her vocal recital at the same venue with captivating krithis on Devi. Shilpa surprised rasikas by singing a not-too-often-heard varna, Mahishasura mardini in Andolika raga. She performed with an all-women accompanying team -- H N Smitha (violin), Ranjani Siddhanthi Venkatesh (mridanga) and Bhagyalakshmi Krishna (morsing). She demonstrated an admirable vocal technique and appropriate interpretive capabilities. As it was Saturday, she did well by singing Dikshitar’s Navagraha krithi Divakara tanujam.Shilpa interpreted the character of Shanmukhapriya (an occasionally heard Jayachamaraja Wodeyar krithi Paripalayamaam, Mishra jhampe) in detail, with neraval and swaras. Thyagaraja’s Nannuganna talli (Sindhu Kannada raga) was pleasing to the ears. This was followed by a series of Devi krithis, Hiranmayeem (Lalitha), Shringeripuravasini (Kapi), a shloka Sriprade Sharade (Hamsanandi) and others.
Elegant performance
In her vocal concert last Monday, Chandanbala Kalyan demonstrated depth and understanding of music. She managed a representation of krithis on Devi by different composers. The opening Gajananayutham (Chakravaka) was inspiring. Kamalambike (Nata) built up a formidable structure for her concert. Bhuvaneshwariya in Mohana Kalyani kept up a lively tempo.
An old-time favourite, Saarasamukhi (Gowdamalhar raga) was crisp. An elaborate Shankarabharana and the krithi Sarojadalanetri (with all the manodharmic ornamentations) was delivered with exceptional vocal control. The Sharada bhujanga stotra was sweetly rendered in Abheri and Sindhubhairavi ragas. She captured the greatness of bhava in Karnatak music, in the Dasa’s devaranama Paalisemma muddu Sharade (Madhuvanthi raga).
Young Venkatesh Josier (violin), B S Prashanth (mridanga) and Sunad Anur (khanjira) enriched the performance with their spirited backing.
--Dr M Surya Prasad
drmsuryaprasad@gmail.com