Bharat Sundar uncovers the soul of Raag Abheri

VVS Murari, Delhi Sairam and N. K with Guruprasad. Bharat Sundar Photo courtesy: M. Srinath

Bharat Sundar is a confident singer, who is in a constant process of learning and striving to create an impressive concert.

His commitment to the musical values ​​of the pieces and ragas chosen, his astute approach to vocal sections through his lively exchanges with violinists and percussionists are testament to his artistry. He also manages to maintain the audience’s attention from beginning to end.

Bharat flagged off his recital with ‘Sarasuda’ Saveri Varnam and followed it with ‘Siddhivinayakam’ (Dikshitar) in Chamaram. To the delight of the connoisseurs, the work was accompanied by a lengthy swarakalpana. VVS Murari equally responded to that abundance of notes on the violin and won the approval of the audience.

Bharat’s understanding of the range and melody of ragas brought brilliance to Begada and Abheri. In the Begada rendition, Bharat added substantial emotional experience through his passionate pauses and extensions to Raga Alpana. Ramaswamy Sivan’s ‘Kadaikkan Vaithennai’ was his selection, and his rendition of Pallavi was poignant.

The session after Tani was a delight as it was characterized by subtlety and restraint Photo Credit: M. Srinath

Surprisingly, without going into the fast numbers, he sang a Virutham, ‘Pala Ninainthuttum Thayinam’ in Dhanyasi, and followed it with Gopalakrishna Bharathi’s ‘Kanak Sabapathi Darisanam’ in Sokhya Bhava. Tyagaraja’s lively number ‘Sara Sara Samare’ in Kuntalavarali made up for the lack of Bharat’s elaborate narration of Abari before he entered the fray. He presented an interesting Chittaswaram for Kuntalavaraali Kriti composed by the great artist M. Balamuralikrishna. He also explained its subtle details.

Bharat’s Abheri Raga Alapana was a fascinating essay touching on the vibrant phrases of the raga progression without giving up its emotional impact at any point. The upper sector sections also proceeded with intensity and harmony. Mysore Vasudevacharya’s gem ‘Bhajare Manasa’ was presented with great reverence, and his extrapolation on the line of ‘Rajkumaran Raman’ was a good exercise. The phrasing was impeccable with the final set on Pancham-centric notes. The contribution of violinist VVS Murari in this special work was equally noteworthy. Earlier, Murari’s weighty responses showcased his effortless prowess in raga texts and vocal exchanges with Bharat.

Delhi Sairam and Guruprasad not only enhanced the quality of the concert on Mridangam and Ghatam respectively, but also competed with each other on every stage to garner applause from the audience. His ‘Taani Avtaranam’ was almost like the battlefield of the flying ‘Solas’.

The post-Tani session was a delight as it was characterized by subtlety and restraint with ‘Irakkam Varmaal’ in Behaag by Gopalkrishna Bharathi and the profound and philosophical ‘Maname Kanmum Maravathe’ by Papanasam Sivan in Aberi.