G in pitch-perfect pantuvarali. Ravikiran’s RTP was excellent

Yes Ravikiran. , Photo courtesy: K. pichumani

A musician gets more happiness if he can also enjoy the music while performing. It seems that Mr. Sun radiation has this specialty. His concert consisted of two parts – one where he was still driving a taxi and the latter part where he flew and traveled. An excellent Raga Tanam Pallavi in ​​Pantuvarali crowns the music of this talented singer.

In the taxiing portion, there was some uncertainty, slow moves and fluid attacks. Ravikiran probably contributed to this by making unconventional debuts in Raga Alapana of Hindolam and Shankarabharanam. Not sure if this is part of a theme or not. Kalapramanam of works like ‘Neerajakshi Kamakshi’ (Hindolam, Dikshitar) and ‘Sadasivam Upasmahe’ (Shankarabharanam, Dikshitar) put brakes on the pace at crucial points. Although it looked like a cautious start, Ravikiran’s recovery and subsequent fluency was remarkable.

‘Sarsija’, a varnam in Nayaki (Khanda Tripuda) was followed by ‘Sobilu Saptasvara’ (Jaganmohini, Tyagaraja), which had Niraval and Swara in ‘Dhararitsa’.

Hindolam contained phrases that appear to come from Dikshitar texts, but were not in widespread use in performances. Ravikiran’s further elaboration on the raga passes well through the entire range of emotions. Edappally Ajith Kumar replied with optimum effect. ‘Neerjakshi’ (Rupakam, 2 Kalai), presented in the ati-vilamba art, was bright, but one is not sure whether this strategy would work well in a two-and-a-half-hour concert. Ravikiran perhaps enjoyed the challenge of presenting it at a pace that also required skill.

G with Edappally Ajith Kumar (violin), Arun Ganesh (mridangam) and Nerkunam Shankar (kanjira). Ravi Kiran. , Photo courtesy: K. pichumani

‘Atukaradani’ (Mararanjani) was a fast-paced piece that inspired the percussionists to jump into the fast lane. Ravi Kiran’s Sankarabharanam started from the higher octave and ended there, drawing a complete circle. He mixed short phrases, cervais and brigus in balanced proportions, often eager to rise to the higher notes with gusto. Violinist Ajith Kumar, with his caressing touch, created a different but equally charming course, creating an excellent impression of the majestic raga. His sensitive handling was amazing. ‘Sadasivam Upasmahe’ written by Dikshitar (Adi Do Kalai) was also a slightly slower but dazzling accompaniment and an impressive Niraval added fine embellishments on the madhyamkala lines of ‘Puraana Purusham’. This happened when the concert reached the take-off point. The vocals were also interesting with the use of ‘Pa Ri’ in the descent. Ajit Kumar’s playing was bright and concise.

Percussionists Arun Ganesh and Nerkunam Shankar came to the fore in the Shankarabharanam Manodharma portion and launched an active tani which was enjoyable.

Ravikiran, now traveling with his melodious voice and in complete control of his creative mind, ventured into Pantuvarali Ragam, which had a high level of ‘Ruchi’ expression. Tanam was one notch better, dominated by raga phrases rather than mechanical syllables. Pallavi ‘Ramanathan Bhajeham’ in Tisra Tripuda was well planned and executed. Ravikiran’s deployment of good rhythm in Niraval will further enhance his credentials as a more complete singer. One also enjoyed the teamwork of the fine accompanists in whose support Ravikiran displayed his ‘soulful flair’. Sahana and Kannada were opposite additions to the vowel section. In these stages the sense of proportion returned. ‘Thunga Thera’ (which is also heard in other ragas) was also presented pleasingly in Yamuna Kalyani.

Ravikiran showed high potential in handling the complex parts of a concert, especially the Pallavi. He would likely consider the speed, unless it was designed to detract from his brand of music. Ajit Kumar grabbed the opportunity to get a seat at the high table with his restrained and yet artistic performance. Mridangists Arjun Ganesh and Shankar handled the tempo fluctuations admirably.