Bharat Sundar’s Nagaswaram-inspired 13-minute Abheri Alapana was the pinnacle of his singing.

The most essential tools required by a singer are a flexible voice, a sharp musical mind and a diligent sense of proportion. For Bharat Sundar’s concert Music Academy It was all this, with perfect melody.

Purvakalyani, Abheri and Kalyani were his main ragas. After a fast thodi varnam ‘Era Naapai’ the nattai had M. Balamuralikrishna’s ‘Ganasudha’ and accompanying vocals. The Purvakalyani Alpana was well delineated while remaining within its confines. Gopalkrishna Bharathi’s ‘Satru Vilagidum Pillai’ in Roopakam is an evocative Nandanar song which was handled with sensitivity by Bharat and violinist M. Rajeev, especially in Niraval in ‘Bhaktiyil Karai Kandavan’. The notes that followed Niraval were adapted for Ghadi.

‘Sri Tyagaraja’ in Sri Raga (Muthuswami Dikshitar) brought down the slowness in the Vilamba art and was deftly enhanced with Patri Satish Kumar’s deft tap on the Mridangam. Bharat Sundar also did not take the complementary ‘Sarsa Samagan’ in Kapi Narayani lightly – the vocal choristers along with the public experiment brought it to life.

Of. Rajeev (violin), Patri Satishkumar (mridangam) and N. India Beautiful with Guruprasad (Ghatam). , Photo courtesy: K. pichumani

Abheri Nagaswara Chakravarthy was the masterpiece of TN Rajarathinam Pillai. That was Bharat’s reference guide to alapana, summed up in 13 minutes – the short phrases, impressive continuity and slow movements were greatly appreciated by both the singer and the violinist.

Mysore Vasudevacharya’s landmark work ‘Bhajare Re Manasa’ demands an extended scale range in the octave and Bharat has passed the test. Niraval in ‘Pavanna Japtham’ was interesting despite being a little short. Rajiv again came forward briefly.

The RTP in Kalyani was a complete package, washed down with Ragaras. The beginning of the alapana in Nishadam was not only unusual, but also seemed to mirror Pallavi, which also begins with Ni and swarakshara. ‘Ni Dayai Puriya Thamadama Saravanabhava’ section set in Chapu, Tisra Nadai. Bharat and Rajeev presented four kalams within a circle, which is a sign of good rhythm control. The request for the audience not to clap was understandable.

Kalki Krishnamurthy’s composition ‘Kuyilaar’ with catchy songs set in Mandu got the cool treatment and pace the song demanded.

Rajeev acted with precision, creating intelligent sequences and landings, and his sense of proportion allowed the concert to flow like a stream. Satish Kumar balanced out his usual style a bit, adding more nuance to works like ‘Satru Vilakidum’ and ‘Sri Tyagaraja’. On Ghatam, Guruprasad put his weight in fast-paced vocals, Korvais and Tani.

The concert was also a good display of the balance between timing, mood and variety. However, Bharat needs to play carefully in the middle overs to take full advantage of his strengths.