Younger Bharat Narayanan produced a wealthy number of ragas and kritis however the very idea may want rethinking
A four-hour Carnatic live performance could be fairly the feat to try. Sunaadalahari, the musical wing of the Indira Ranganathan Belief, has been organising a month-to-month sequence of such marathons in an effort to revive the previous observe when live shows would go on for hours. It was the younger and upcoming vocalist Bharat Narayanan who entered the lists this time. Whereas his belongings embrace a voice with a great vary and timbre, the younger artiste must focus just a little extra on time administration, and his rendition left just a little one thing to be desired.
‘Vanajakshi’, the Kalyani Ata tala varnam, was certainly a great begin. So was Muthiah Bhagavatar’s composition ‘Ghum Ganapathey’ in Hamsadhwani. Because it was a Sunday, Dikshitar’s Navagraha kriti ‘Suryamurthe’ in Sowrashtram was an apt alternative too. Bharat did handle to package deal a wide range of ragas and compositions, together with Ramanathapuram Srinivasa Iyengar’s ‘Samayamitheyani’ in Devamanohari and Dr. M. Chandrasekaran’s ‘Dharmavati’ in Dharmavati raga.
He went on to a remedy of Nattakurinji by which his honest effort to deliver out the great thing about the raga was evident in his rendition. However, on account of a considerably disorganised assortment of phrases, this didn’t have a lot of an influence. His supply of the composition — Syama Sastri’s ‘Mayamma nannu brova’ — does deserve credit score for its sobriety in addition to a inventive tackle ‘Shyamale neelotpale’ and the swara part.
The identical downside with disorganised phrases may very well be seen later, when he essayed Sankarabharanam for his centrepiece. The composition this time was a swarajati by his mom, the musician Child Sreeram, alongside the traces of Syama Sastri’s ‘Amba Kamakshi’. Sadly, right here he tried to weave in swaras touchdown on each charanam line; the outcome was extra a maze of swaras than a calculated strategy.
The camaraderie between Bharat and violinist R. Raghul enhanced the live performance. And with time at their disposal, practically an hour was supplied to the percussionists, B. Sivaraman (mridangam) and Ok.V. Gopalakrishnan (kanjira). The rhythmic exchanges between the duo had been refined, sturdy and electrifying .
Different ragas and kritis included within the prolonged agenda had been Nayaki (‘Dayaleni prathukemi’ by Tyagaraja), Hindolam (‘Maanavakula bhooshanam,’ composed by G.N. Balasubramaniam in reward of Tyagaraja), Malavi (‘Rama nee dasudane’ by Voleti Venkateswarulu), Varamu (‘Maname unakku’ by T.M. Tyagarajan), Suddha Saranga (Thiruppugazh) and a thillana, once more by Child Sreeram.
Personally talking, I believe four-hour live shows are certain to be daunting for musicians and rasikas each. Instances have modified and so have tastes. Such marathon live shows want extraordinary experience and could also be difficult for budding artistes. A live performance’s high quality is determined not by its size however by its eminence.
The Chennai-based writer writes on music and tradition.