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Carries the audience with him
Vijaya Siva.
STARTING THE concert with "Vathapi" (Hamsadhwani), the invocation to Lord Ganesha, followed by "Sri Saradham" (Khamas), Vijaya Siva established his mark on New Year's day. With sruti in perfect unison he could carry the audience with him in his Manirangu raga rendition ("Raanidhi") with kalpanaswaras alternating between pallavi and anupallavi. Slow-paced swarajathi ``Kamakshi'' in Yadukulakambhoji composed mostly in the lower octave brought out the beauty and bhavam of the piece. Melodious violin support from Sri Ram Kumar was noteworthy. The elaborate ragam, Kirvani, ("Kaligiyunte") and neraval swaras in ``Baguga'' deserve appreciation. Kalyani was dealt with at length in the alapana, tanam and pallavi neraval ("Taraka Brahma Swaroopini") tisra- jampa-kanta nadai-trikalam with ragamalika swaraprastharas in Dhanyasi, Sama and Surutti. The tukkadas and tillana (Amir Kalyani) made a lasting impact on the rasikas. The percussion support and tani in Kirvani, by J. Vaidyanathan (mridangam) and B. S. Purushotham (kanjira) was enjoyable.
Melodiously articulated
M. S. Sheela commenced the concert with the varnam "Chalamela" (Durbar) and "Vandeham" (Hamsadhwani) with madhyamakala swaras. Initially the music sounded a bit rough and loud due to excess mike amplification. However from "Smarabhoomi Sudhapathim" (Megharanjani) onwards the scenario changed to a melodious one. Abhogi raga nicely articulated in ``Nekkuruki'' and the subsequent swaras were pleasing. The aesthetically sung "Pari Pahimam" (Subhapantuvarali) and a brief Kanada raga ("Intakante") proved her mettle in every respect.
Good patanthara, sruti alignment, clarity in sahitya and raga swaroopa for easy identification, make her concert different from others. In``Rama Nee Samanamevaru''(Kharaharapriya) neraval ``Paluku Paluku'' and the kanakkuswaras with``ma''as moorchana had impact on the audience. The main raga alapana Kalyani ("Himadri Suthe") with neraval swaras in ``Shyama Krishna'' scored over other items.
A well-planned three-hour concert combining well-known vaggeyakara's compositions made the programme lively. B.K.Ganesh Prasad's easy bowing (violin) and flowing response in every arena proved his mettle. Melakkaveri Balaji (mridangam) and Sukanya Ramgopal (ghatam) demonstrated their absolute control over their instruments and their support was commendable.
Neat execution
Raj Kumar Bharathi started with the varnam "Chalamela" (Nattaikurinji) followed by ``Siddhivinayakam''(Shanmukhapriya) and Madhyamakala swaras in the pallavi. "Diwakara Tanujam''(Yadukulakambhoji) was rendered with bhavam. The beautifully elaborated Abhogi raga for ``Mata Parasakthi'' included well-patterned kalpanaswaras for pallavi in both the speeds. Intricately interwoven Kalyani ("Etavunara") raga with long karvais and brighas won audience appreciation. The neraval in ``Sita Gowri'' with appreciable Korvai swaras both in the ascending and descending order, won audience applause. Including sarvalaghu simple kalpanaswaras in one or two kritis will provide the necessary balance to the concert. G. Chandramouli (violin) gave a melodious and valuable support throughout keeping pace with the artiste's nuances and ideas. The tani by the efficient K. V. Prasad (mridangam) the energetic A.S.Krishnan (morsing) was enjoyable.
Pleasing and brief Hamsanada raga was executed neatly with tanam varying among markata, chakra, vadhya and gaja tanam. The pallavi ``Hamsa Vinodini''in Hamsanada tala (one of the 108 talas) and subsequent swaras exhibited Raj Kumar's competency over the laya aspect. It was a concert worth listening.
Sung with poise
Commencing the concert with the varnam "Samidayajuda" (Kedaragowla), Subha Ganesan rendered the kritis ``Sivakama Sundari''(Jaganmohini) and ``Marugelara" (Jayantha Sri). Amir Kalyani raga was elaborated with suitable prayogas for ``Thoomani Madathu" (Thiruppavai).
The Bhairavi raga alapana had good melody and brighas in appropriate places. The kriti ``Upacharamu'' was sung with poise and the neraval swaras in ``Kapatanataka'' had originality.
Kalyani Shankar's melodious violin support matched the artiste in every respect. "Kannanai" (Chenchuriti) and Thiruppugazh (Chakravaham) wound up the concert.
The tani by V.M.Ganesan (mridangam) and V.Ravi (ghatam) was enjoyable. B.Balasubramanian started off his concert in Atana ("Sri Mahaganapathim") with kalpanaswaras followed by ``Vidulagu''(Mayamalavagowla),``Enneramum"
(Devagandhari) and ``Enainee'' (Amrithavarshini). The raga elaboration for Hindolam ("Manasuloni") and Poorvi Kalyani ("Paramapavana") was full of imagination and gamakas. At times the sruti was a little higher than his adhara sruti due to his troubled throat.
Percussion support and tani by Shyam Sundar (mridangam) and Venkataraman (ghatam) was pleasing. ``Arulavendum''(Saramathi) and ``Ennathavam''(Kapi) was a fitting finale to the kutcheris this season organised well by Bharat Kalachar. — M.N.
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