Margazhi Report: R K Srikanthan

To be a rasika is a blessing. Especially when two living legends come together for a performance, a rasika comes close to that salvation guised as a feeling.

Sangitha Kalanidhi RK Srikanthan’s concert accompanied by R.K.Rama Kanth (Vocal support), Umayalpuram K.Sivaraman ( Mridangam), M.A.Sundareshwaran (Violin) and Anirudh Aathreya (Ghanjira) for ‘Naadhabrahmam’ at PS High School totally justified what a rasika would emotionally tag as ‘Naadha Inbam’.

The nonagenarian commenced his concert with a traditional varnam in Kedaram.

Mysore Vaasudevachaariyaar’s ‘Sharadhae Pahimaam’ in YadhukulaKaambhoji followed next. The sangathis were understandable and extraordinarily vintage.

The veteran, ably supported by R.K.Rama Kanth, then took up Chakravaham. The aalapana was brief, transparent and hallmarked with the best combination of the Sanchaaras. The krithi ‘Etula Brotuvo Theliya’ set to Misra Chapu thaalam was sung, enriched with neraval and Kalpana Swaras at ‘Vattigodduriti’ and the ace violinist punctuated the song with plethora of rhythmic patterns.

Thygaraja’s famous ‘Chalamelara’ in Margahindolam was signature proof for vibrant classical know-how.

A cascade of kalpana swaras kept the audience enthralled in Shyaama Shaastri’s ‘Nannu Brova Rada’ set to Triputa Thaalam in Janaranjani.

A bhava infused, frill less and an arresting aalap in Bilahari came next. It was amazing how the vocalist ventured out and fully brought out the raaga raasa with simple easy symmetry. Shyama Shaastri’s ‘Sri Chamundeshwari Palaayamam’ was presented and the kalpana swaras deserve a special mention. There was no jugglery of notes, no complicated mathematics and the torrent of swaras were so straight forward and clear that it was in fact a sincere learning experience forthe students of Carnatic music.

The rendition culminated in a Thani. When Umayalpuram K.Sivaraman weaved his magic on the mridangam, the world stopped. The auditorium smelled of heavy silence and the roaring Mridangam quietly embraced the awed silence. It was a humbling experience to see the Mridangam maestro encourage Anirudh Aathreya who was also brilliant on the ghanjira. When the thani ended, apart from the regular ‘sabhash’ ,one could hear a relatively young member in the audience exclaim ‘awesome’ at exponentially frequent intervals.

The vocalists then sang Sri Vidhyabhhoshana Theerthar’s ‘Kandu Dhanyade’ in the beautiful Behag and followed it up with Purandaradaasa’s ‘Venkataachalanilayam’ in the moving Sindhu Bhairavi. A tamizh krithi could have been sung since it would have only been an added incentive on an overwhelming evening.The concert ended with a Mangalam in Saurashtram and the amalgamated experience personified unbridled joy.