G. Ravikiran’s alternatives showcased Carnatic music’s wealthy selection
Two breezy fillers simply forward of the centrepiece served their objective by making the detailed Sankarabharanam package deal sound doubly reposeful. G. Ravikiran’s live performance below the aegis of Naada Inbam showcased how clever design can unveil the wealthy number of Carnatic music.
The alapana of the primary raga spanned a great 17 minutes. A big a part of it trod alongside straight notes. Even the frilled passages seldom revelled in an overdose of microtones.
A baritone stretch marked the tip portion of the alapana, not within the least coming throughout as showmanship. Violinist H.N. Bhaskar adopted the spirit, including sheen by the sweetness of his bowing.
‘Enduku Peddala’ was the pivotal piece. The unhurried kalapramanam ensured a grand exploration of the aesthetics of the Tyagaraja kriti. The measured development of the niraval, beginning with the charanam line ‘veda sastra’ additional unveiled the magnificence of sluggish tempo. The swaraprastara had its final-passage notes frenziedly jostling for house in methods strikingly harking back to T.M. Krishna, Ravikiran’s guru since 2002.
The adi tala tani avarthanam by Okay. Arunprakash (mridangam) and N. Guruprasad (ghatam) stood out for its effective sense of proportion. Ravikiran started his live performance with what appeared like Gowlai, however quickly strayed into Pantuvarali territory. The rendition of ‘Paralokabhaya’ made it clear the raga was Mandari, bearing a curious mixture of sprightliness and repose.
The second piece, too, began with an unwitting googly. The opening phrase of the alapana gave a momentary trace of Kiravani, although quickly it was unmistakably all Anandabhairavi. Ravikiran sought to deal with the tender raga moderately boldly, at the same time as Bhaskar’s cue highlighted the standard loops. ‘Kamalamba,’ the primary of Muthuswami Dikshitar’s Navavarana kritis, largely bore the type of Semmangudi Srinivasa Iyer, extra so in Ravikiran’s utterances of the important pa-sa sequences. ‘Parvati ninu ne’ in Kalagada raga, adopted by a nonetheless speedier ‘Vachama gocharame’ (Kaikavashi) functioned because the harbingers to the Sankarabharanam suite.
The post-thani quarter retained brightness with the pentatonic Hindolam. The rendition of Kanakadasa’s ‘Japavamadita renu’ was wealthy in bhava, with the lyrics in Kannada, Ravikiran’s mom tongue. Additionally, it’s a track related to R.Okay. Srikantan, who was Ravikiran’s guru in his childhood. The vocalist wound up with Subramanya Bharati’s peppy ‘Nenjukku neediyum’ the place the highest registers demonstrated his ease with making sudden forays. The mangalam concluded with a splash of Surutti.
For all of the patterning expertise, just a little extra chiselling of the voice can add to the standard of Ravikiran’s modulations. It could actually make the loops extra penetrative as effectively.