|Previous Concert Reviews|
SANGEETHA RASIKA SANGAM - August 2007
The 100th Music Program of Sangeetha Rasika Sangam, Chennai 92 was held at Sri Varasiddhi Vinayagar Temple, Chinmayanagar (Central Chinmaya Mission Trust) on 1st September 2007. The occasion was marked by the presence of a huge number of rasikas. The hall was packed to capacity.
While Padma Bhushan, Sangeetha Kalanidhi Sri T V Sankaranarayanan featured as vocalist, he was accompanied by Shri Nagai Sriram on the violin, with percussion support on Mridangam provided by Shri Melakaveri K Balaji. Shri T V Sankaranarayanan's son Shri Sankara Mahadevan lent vocal support during the concert.
Shri Sankaranarayanan made a brisk start with "Chudaroliye Potri' a vritham followed by 'Mahaganapathim' in Nattai. His execution of this piece with swara narration produced an aesthetic appeal. He made the full effect of the Shatshruthi Rishabham, the vivadhi swaram of the raga outshine in its true colours.
The presentation of Durbar was both enchanting and lively. The swara exercise was done with moving melody.
Shri Sankaranarayanan's delineation of 'Lathangi' the 63rd Melam drew great praise from the listeners. He brought the nuances of the raga in greater focus by carving out all subtle phrases in Manthra, Madhyama and Tala sthayee modes. 'Sudha Dhaivitham' used in this Prathi Madhyama raga forming a core swara to give its true identity was handled ably in all the above modes.
The Papanasam Sivam's 'Venkataramana' was executed mellifluously. The flow of swaras was copious.
Sri Sankara Mahadevan's vocal support was also melody driven and synchronised with the voice of his father to an appreciable extent. Sri Nagai Sriram translated the notes fairly accurately and his unique handling of strings produced subtler waves of melody. Sri Melakaveri Balaji made symmetrical beats in his percussion instrument and it was truly laya oriented.
Shri Sankaranarayanan who follows the Baani of the legendary Shri Madurai Mani Iyer of yester years, in Bhava, expression, style and melody, took up 'Thaye Yasodha' of Oothukadu Venkatasubbiyer in Thodi. He narrated it crisply and melodiously. The audience was rejoiced at the presentation of the song in the traditional format, revealing classicsm and originality of his mentor Shri Madurai Mani Iyer.
The main raga taken up for full improvisation was Mohanam. He explored its deeper realm and the contours of the raga were sharply focussed. The rendition was both sweet and inspirational. Shri Madurai Mani Iyer's famous 'Mohana Rama' was rendered with divine melody. The Sangathis, Neraval and Swaraprasthara took the rasikas to realms of transcendental joy.
Shri Sankara Mahadevan's supportive role in handling the main raga left a pleasant effect and enriched the musical quality. Shri Nagai Sriram used his bow to produce melody at a higher level of creativity. Shri Melakaveri Balaji ensured smooth beats and his Thani was applauded with thunderous cheer by the audience.
'Sevikka Vendumiya' in Andholika was presented sweetly its Ranjathva factor reigning supreme. Shri Sankaranarayanan made a mark in singing Yamuna Kalyani Vritham followed by Dasar's 'Krishna Nee Beganae'. He endeared the audience closer to him with handling some of the masster pieces of the Veteran Musician Shri Madurai Mani Iyer such as 'Kandhan Karunai Puriyum Vadivel' in Pimplas and 'Eppo Varuvaroe' in Jonpuri. The English note rendered in Sri Madurai Mani Iyer's Baani was decorative and colourful. Shri Sankara Mahadevan impressed the audience with his mellowed voice.
Shri Sankaranarayanan concluded the programme by singing Mangalam in the auspicious ragas Sourashtra, Madhyamavathi and Suruti, its fragrance pervading the hall even long after the programme ended.