Niranjan Dindodi with Rohit Prasad (mridangam), Keshav Mohankumar (violin) and Sai Bharat (ganjira). , Photo Credit: Courtesy: Mudhra
Niranjan Dindodi started both the parts of his concert with interesting preludes which had the same pattern. The young singer got two fillers placed right next to her centerpiece. Thus, a leisurely Devgandhari and a breezy Saranga escorted Malhar to the main suite in Bhairavi. For starters, Bengaluru-based Niranjan chose a Sanskrit sloka in the serene Nilambari, which joined its original Shankarabharanam and gained vitality.
The 150-minute Kachhi got off to a great start in the ongoing 30th Mahotsav of Mudhra. The beginning of Darbar was pleasant, with Niranjan’s nasal sound adding to the flirtatiousness of the raga. Thiruvottiyur Tyagaiyar’sAfter a brief alapana, ‘Chalmela’ unfolded at standard pace. The varnam inadvertently gained extra momentum, prompting mridangist Rohit Prasad to subtly rein in the final passage of the set notes. The intervention also received appreciation from Keshav Mohankumar (violin) and Sai Bharat (ganjira).
Muthuswami Dikshitar’s ‘Sankaramabhirami’Was the second item. Controversy continues over the authenticity of the rarely heard raga, but Niranjan confidently leads a series of Kalpanaswaras with excellent support from the violinist.
detailed anandbhairavi
A very elaborate alapana welcomed Anandbhairavi. Punctuating the essay with soothing frills, quick-cut phrases and long-winded notes, Niranjan emulates the aesthetics of his mentor RK Sriramkumar. Like the senior Chennai-based instrumentalist, Niranjan traces his lineage to the heritage village of Rudrapatna on the banks of the Kaveri in Hassan, Karnataka.
The meditative ‘Hey Jagadamba’ by Shyama Sastri received special enrichment through an elaborate niraval around the ‘Anni Bhuvanambulu’ of the first stanza. Keshav’s reactions matched well with the singer’s restraint. Together they took out a brilliant six-minute rally. The latter Swaraprastra strengthened Kishore Sai’s talent as well as his ability to follow the lead percussionist.
Taking the cue was an adventurous Kalyani Alpana who was ready to recite ‘Pankaj Lochana’ (in seven-beat Mishra Chapu). If appropriate emphasis on the key notes defined the singer’s portrayal of the flowery raga, the rendition of the Swathi Tirunal composition was suitably textbook-accurate. Ek Niraval in ‘Vrindavanada Krit’ and Swarprastar was flawless and he made no attempt to show off.
After Gopalakrishna Bharati’s ‘Ennermam’ in Devgandhari and ‘Srimahabala’ (Muthiah Bhagavathar) in Saranga Malhar, Niranjan prepared a broader canvas to depict Bhairavi. Brigas moved out effortlessly, gaining more vigor towards the top registers. In ‘Upcharamu’ (Tyagaraja), he abandons Niraval; Instead, the voice-violin combination produced a long range of notes. It climaxed with a fine tapestry drenched in Sarvalaghu, setting the stage for the Thani Avarthanam – a percussion section lasting 15 minutes.
Concluding, Niranjan decorated Purandaradasa’s ‘Venkatesh’ with a garland of tunes – Hamirakalyani and Kapi supported the initial khamas. The introduction to Ragamalika was a six-line Kannada stanza in Mayamalvagaula, Shahana and Sindhubhairavi. The elegantly presented solo tukkada shone.
published – December 14, 2024 01:21 PM IST
