Prasanna Venkatraman curb an interesting list of songs dedicated to Rama

Prasanna Venkatraman. , Photo Credit: Ravindran R

Prasanna Venkatraman’s concert for Rasika Ranjani Sabha and Ganapriya Foundation depicted the Purandaradas composition ‘Ram Naam Payesake’ with a Pallavi, which reads like a divine recipe: “Mixing the name of Krishna named Krishna, and the name of Vitla.

Prasanna, M. With Vijay (violin) and Pongulam Subramanian (Mridangam), embraced the subject of the concert – ‘Ram on Ram on Ram on Ram on Ram on Ram on Ram on Rama on Ram on Ram on Ram on Ram on Ram on Ram on Rama.

Not surprisingly, it was Anjaneya, who entered Rama because Prasanna started with Dikshati’s ‘Pavantatmaja’ (Natai-Khanda Chapu), in which the imaginations gave a lively start. In Ravichandrika, ‘Maklera Vichaamu’ served as an ideal entrance to the world of Rama with the spirit of Tyagaraja – “What’s for me to worry with you?” – A cool flow was presented. At the inauguration of Pallavi, Swara exchanges saw that the Sangatists responded in the right -taliness.

Stimulating rendering

The delimitation signature of Prasanna of Anandabhairi was developed and complete with Vakara phrases. In Roopakam, ‘Ram Nama Payeseke’ was sung in a way with his lyrical instructions about devotional nectar preparation, service and participation that reflected its intense bliss.

In Narayangovala, Deekshati’s ‘Shriram Ravikulabhadhi Somam’ was a suitable pick. This work briefly surrounds the Ramayana. Prasanna talked to Swarakalapana challenging for delicate raga – affecting the color of Kedargovala, Surtti and Kapinarayani – with the announcement, and Vijay proved to be equal to the task in his response.

“Imani Pogadudhura in Virvasantam”, in which Tyagaraja surprised loudly, “How do you, Sri Rama? “, Was presented with Varva, then the characteristic of Kamboni Raga with the ‘Emya Rama’ of the fierce-Bhajan Ramdasa.

In the forefront of Atana’s Regal Abha Prasanna, ‘Ella Needadadu’ came out. The best -class composition, which sees Tyachagara in its descriptive best, was another fitting option. Rama, the specific melodic appeal of the raga, and jointly passed to provide a high experience, the waterfall of the Vokis who take out the Ram.

Prasanna Venkatraman with Poongulam Subramaniam (Mridangam), and M. Vijay (violin).
Photo Credit: Ravindran_R

Good teamwork

The main raga of the evening was Severi and Rachna Tyagaraja’s ‘Ram Bana’, which celebrates the skills of divine archery that fell in Ravana. Prasanna’s Alpana indicated the work in the store, with the natural ib and flow of the raga. The version of Vijay reflected as a singer. Following a polish presentation by Kriti, Prasanna handled the only disinterest of recurrence in Anupalvi, which opened ‘Bhamkaspadu’. It was broad and absorbed, and was well supported by the team. Tani incarnation by Subramanian was abbreviated and enthusiastic.

A couple of comments need to be mentioned. Nirwal is the ancient of Manodharma, and a concert of this nature has scope and merit for at least two investigations. In addition, the compositions of Annamacharya and Arunachal Kavi must have further enriched the canvas. The latter ‘Ram Nataka Keratanas’ offers a close music Ramayana. Othukadu Venkat Kavi has also kept many crites on Ram for his credit.

In the closing section, a meditation for Purandara Dashar in Jonpuri, ‘Vaidhi Sahitya’ Ramayana was sung in Sloka, Shanmukhpriya and Manirang, followed by Dikashitar’s Kornashan Krivadram. Prithvi.