Rendered in serene mood

INTAPARAKELARA INAKULA Tilaka in Karaharapriya scripted by Pallavi Sesha Aiyar with neraval and swaras at Nadupapamella Sahimpajesi, was but one of the less- heard compositions rendered by B. Balasubramaniam for Hamsadhwani.

With a soft and malleable voice, Balasubramaniam sang most reposefully and this mood continued till the end. And when the penultimate piece he chose a soulful vrittam from Arunagirinathar and sang Thanjavur Shankara Aiyar's ``Manadirkuganda'' in Sindhu Bhairavi, the singer was given a big hand.

M. Narmada's violin support was most inspirational and she got a special cheer for a brief but heartwarming alapana in Sindhu Bhairavi. Kumbakonam K. Ramakrishna played a good tani avartanam.

K. Sadgurucharan's laya prowess was in full flow when he accompanied Chitraveena maestro Ravi Kiran. The other percussionist was E. M. Subramaniam (ghatam). Violinist Sriram Parasuram complemented Ravi Kiran's efforts wholesomely.

If art consists in concealing art Ravi Kiran is a fine example. Several rare sancharas were reproduced in the most easy way. The RTP was in Nattaikuranji and in the swara ragamalika Ravi Kiran played Kapi, Gangeya Bhusani and Ranjani. In the end he played the popular English note composed by Muthiah Bhagavatar.

S. P. Ramh, student of Lalgudi Jayaraman S. P. Ramh gave a chaste vocal recital without unnecessary frills or brigas. A comprehensive alapana in Shamugapriya was followed by Papanasam Sivan's ``Andavane Unnai Nambinen'', and several rounds of swaras. After an expansive alapana in Todi, Ambujam Krishna's Gati Neeye was rendered with clear diction. ``Innudayabarade'' in Kalayanavasantha, Periasami Thooran's ``Gananathane'' (Saranga), Dikshitar's Tyagarajaya Namaste (Begada) were other noteworthy songs. Pakkala Ramadas (violin) and T. R. Sundaresan (mridangam) gave good support. A. S. Krishna's (morsing) gave an extra melodic touch to the concert.

A well-executed RTP in Kanada highlighted Rama Ravi's sweet recital. Despite a sore throat she did a commendable job. M. A. Krishnaswami's violin support helped her a lot with both the alapanas and swaras. The pallavi words (set to Jhampa-Khanda nadai) ``Shanmuga Daivamaniye Gnanayaanmaniye Gurumaniye'' were well-conceived and the precision in tala evoked special praise. The swararagamalika included Behag and Kapi. Nandita gave vocal support.

Thanjavur Kumar's mridangam beats were subtle and melodic.

In a rain-interrupted concert, the upcoming Shubashree Ramachandran sang the kritis of various composers making a thoughtful selection. Syama Sastry's Birana Varakichi (Kalyani) with neraval and swaras at Shyamakrishna Sodari Gowri Parameswari Girija were sung with commendable confidence and laya precision. ``Muruganinmaruper Azhagu'', ``Manasa Sancharere'' (Sama), Dikshitar's ``Kamalmba Samrakshathu'' (Anandabhairavi), ``Entaraneetana'' (Harikhamboji) were other songs that deserve special mention.

Mysore Srikanth (violin), S. V. Ramani (mridangam) and S. V. Viswanathan (ghatam) gave good support.

Regal treat

Sankarabharanam, jewel among ragas received a regal treatment in the hands of Vijay Siva. In a sense Siva's concert more than assuaged the feelings of rasikas disappointed by the postponement of the recitals of Sudha Raghunathan and Nithyashree Mahadevan.

With his soft and sweet voice Vijay Siva was able to generate gamakas and brigas in the most facile manner. All the nuances of Sankarabharanam were covered in a scholarly alapana and Tyagaraja's ``Endukupeddalavale'' was rendered in style with neraval and swaras at Vedasastra Tatvarthamunu Telisi.

After a comprehensive Sankarabharanam the singer sprang a pleasant surprise with an RTP in Asaveri in tisra triputa with the pallavi words, ``Thenpazhani Vadivelane Deivanai Manalane''. The whole exercise bespoke the singer's erudition.

Vittal Ramamurthy's violin play was most supportive while Manoj Siva, subdued for most of the time, came into his own in a tani avarthanam, weaving several skilled laya patterns.

- K. S.

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