Authentic interpretations
V.BALASUBRAMANIAN
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Kolkata Vijayaraghavan gave a fulfilling concert on the Bahula Panchami Day.
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Photo: R. Shivaji Rao
Brisk pace: Kolkata Vijayaraghavan.
Kolkata Vijayaraghavan’s concert on the Bahula Panchami day organised by Sri Sadguru Gana Nilayam at SMR Matriculation School, West Mambalam, dedicated to Saint poet Tyagaraja, was marked by authentic interpretation of ragas Varali and Kalyani.
The sruti suddham of Madurai T.N.Seshagopalan’s disciple made the concert even more enjoyable. Vijayaraghavan capitalised his powerful voice to make a statement of Varali ragam with akhara phrases that fell in place perfectly.
Guru’s style
Adopting his guru’s style, Vijayaraghavan went on to sing ‘Eti Janmamidi’ (mishram) in a gentle speed befitting the kriti. Karaikal Venkatasubramanian’s (violin) reply was equally spirited. The kalpanaswaras, developed neatly in a logical manner, were in tune with the kriti. Tiruvidaimarudur Radhakrishnan’s (mridangam) laya interpretation showed the experience he has gained as a practising vocalist too.
‘Telisi Ramachandra’ (Poornachandrika-Adi) was at a very brisk pace before he embarked upon essaying Kalyani.
Vijayaraghavan started off very well with fertile imagination resulting in phrases flowering with a flourish. He was at ease singing in the upper octaves.
One felt that he need not have resorted to sruti bedam resulting in pentatonic ragas thereby spoiling the Kalyani mood. Venkatasubramaniam’s Kalyani was copy book style. Full justice was done to the kriti ‘Etavunara’ (Kalyani-Adi) with niraval in the anupallavi that showcased his control in laya.
Vijayaraghavan’s calculations in the kuraippu phase of the kalpanaswaras caught the violinist unawares at times. Radhakrishnan’s thani was pure vintage stuff. ‘Nada Loludai’ (Kalyanavasantham-Rupakam) and ‘Rama Katha Sudha’ (Madyamavathi-Adi) were the concluding pieces.
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