We are aware that today Carnatic music stands between traditional conservatism and overwhelmingly performing liberalism. When I heard vocalist S R Veeraraghavan performing for Tapas Academy at Tatvaloka Auditorium, his presentation, for me, was like magic in the air with his mellifluous voice filling in the atmosphere, making the audience listen with rapt attention.
He proved to be a worthy senior disciple of Balamuralikrishna, who, even today, upholds the grandeur and depth of Sampradaya Carnatic Music.
Vocalist Veeraraghavan’s rendition was exceptionally good this time and descended on the gathering of rasikas like a benediction.
He quite appropriately chose to invoke the blessings of Lord Ganesa (Vathapi Ganapathe) in Dikshitar’s raga Hamsadhwani, after the rendition of a pleasant Vasantha raga kirtana (Sitamma-mayamma) of Thyagarajar.
With his marvellous exposition of raga Jhingla Arohanam (sa-ri-ga-ma-pada-nida-pasa) Avarohanam, the Sampoornam (sa ni-da-pa-ma-ga-ri-sa) and rendition (Anathudanukhanu) of Thyagaraja, through a sensitive combination of gnana and naya, and with his strength of devotion to guru and music, Veeraraghavan virtually placed the concert on a brisk orbit. This was equally revealing in his (Garudadwani) raga thillana of Balamuralikrishna. Earlier, he unfolded the uniqueness of traditional Carnatic music through Kalyani raga and presented Ethavunara of Thyagaraja, in his unique style, indulging in high-spirited swaras, creating excitement among the audience. His rich voice came to the fore when he delivered Jayadevar Ashtapathi in raga Niyankimalhar.
Sruti alignment and generic quality of layam, which was expected of this senior artiste, was also present in abundant measure. His entire performance revealed that he was capable of negotiating different sancharas, in all octaves effectively.V l Kumar (violin) matched the brimming buoyancy of the vocalist. Guru Raghavendra (mridangam) and Krishnan (ghatam), were quite at ease with the vocalist’s technique.
