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Vivek Moozhikulam acting at Sangeetha Parishad, Mangaluru.
| Picture Credit score: Particular Association
Vivek Moozhikulam offered a spirited Carnatic vocal live performance below the auspices of Mangaluru’s Sangeetha Parishad, in affiliation with Karnataka Authorities’s Division of Kannada and Tradition and Bharatiya Vidya Bhavan, Mangaluru. That is the Parishad’s thirtieth anniversary (Thrimshath Sambhrama) and it has been organising month-to-month concert events that includes each up-and-coming and established artistes.
Endowed with an imposing voice, Vivek started with the Saveri Varnam ‘Sarasooda ninne’ by Patnam Subramania Iyer, and rapidly moved on to ‘Swaminatha paripaalaya aashu maam’ in Nattai by Muthuswami Dikshithar. He offered Papanasam Sivan’s masterpiece ‘Kaa vaa vaa’ in Varali with impeccable diction. Saint Tyagaraja’s compositions monopolised his live performance. His delineation of Saramathi was stuffed with contemporary phrases, and, as anticipated, he offered ‘Mokshamu galadaa’. As a distinction, ‘Shobillu saptaswara’, in reward of the seven notes, adopted briskly in Jaganmohini.
Bhava-rich delineation
The central piece was ‘Raksha pettarae doraku’ in Bhairavi. After an elaborate and bhava-laden delineation of the raga, Vivek rendered the kriti with due dignity and acceptable ornamentation. On this Utsava Sampradaya kriti, Tyagaraja sings about putting an auspicious mark (raksha) on the brow of Rama to beat back evil eyes. (In many homes, this was an everyday ritual throughout twilight. That’s the reason this time is known as ‘sayaraksha’). Tyagaraja takes the freedom to deal with Rama as a small youngster who must be protected. In the identical kriti, he enumerates the greatness of the Lord, too. The niraval for ‘Sangeetha priya tyagaraja’ had flashes of briga-laden sangathis, delivered with easy ease.
Keshava Mohan Kumar adopted the vocalist faithfully by means of his soulful repartess on the violin. Mridangam by Sunaada Krishna Amai unfold sunaadham (nice sound), and he supported the artiste with sensitivity. Through the thani, together with Balakrishna Hosamane (morsing), Sunaada wove pleasant rhythmic patterns.
The lighter session comprised Purandaradasa’s padas, ‘Mandha mathiyu naanu’ and ‘Rama nama payasake’. Whereas each of them have been lyrically wealthy, the latter delighted the listeners with its metaphorical magnificence, describing the method of getting ready payasam. The devotee mixes the sugar named Krishna, and ghee named Vittala into the kheer named Rama, serves it in a plate and enjoys it until he will get two burps of bliss.
Vivek concluded his well- deliberate live performance with a thillana.
Pranav Adiga’s flute recital at Sangeetha Parishad, Mangaluru.
| Picture Credit score:
Particular Association
Mature method
Within the earlier session, younger flautist Pranav Adiga from Udupi (disciple of Varijakshi Bhat and Ok. Raghavendra Rao), endeared himself to the viewers together with his childlike face and a efficiency far past his age. With temporary alapanas, he offered ‘Sudhamayee sudhanidhi’ in Amritavarshini (Muthiah Bhagavatar) and ‘Tatvameruga taramaa’ in Garudadhwani (Tyagaraja). After a satisfying alapana of Simhendramadhyamam for his essential piece ‘Needhu charanamulae’, (additionally by Tyagaraja), Pranav showcased his expertise in swarapratharas and concluded with ‘Govinda ninna namavae chanda’ by Purandaradasar in Jana Sammodhini.
The gifted flautist was ably supported on the violin by Gowtham Bhat P.G. and Shailesh Rao on the mridangam.
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