Lalitha Vasantha Abhisheka at Nadasurabhi

[Rsachi]

The poet Jayadeva says:
vasante vāsantī-kusuma-sukumārair avayavair...

lalita-lavanga-latā-pariśīlana-komala-malaya-samīre |

ललितलवङ्गलतापरिशीलनकोमलमलयसमीरे ।
मधुकरनिकरकरम्बितकोकिलकूजितकुञ्जकुटीरे ।
विहरति हरिरिह सरसवसन्ते ।
नृत्यति युवतिजनेन समम् सखि विरहिजनस्य दुरन्ते |
Today Abhishek sang an RTP in Lalitha and Vasantha. The ragas in their extremely melodic expression were filling our ears, hearts and souls. The violin of Charulata matched the mood in a highly supportive manner. I think this type of melodic idiom transports us to a different plane and even Abhishek reaches a zone beyond the Shaolin Master temple.

I had to leave at the start of the pallavi with words Nannu Brovu Lalitha Vegame.. With the words Lalitha replaced by Vasantha, Kalyani etc. with change in raga also. I couldn't stay back for logistic reasons but I think I got the creamy portion of the concert already.
The other highlights were a superb superb Kamavardhini "ninne neranammi nanu raa". His exploration of the song would have made KVN and Raghu mighty proud of him. Then there was a very sedate, elegant, touching Dhanyasi. The song was... I forget.

Abhishek has two modes. A laya dominated mode and a raga dominated mode. I like the latter. It fills three octaves with a superb charm and a masterly exploration.

Anantha and Guruprasanna didn't do much today. Maybe the mike setting did them in. At least that's how it was where I was sitting.

I am sure there were many connoisseurs in the full house who will share more details.

[kvchellappa]

It was ramabhirama in dhanyasi.
He started with saveri varnam (sarajuda), continued with sahana (e vasudha) with a brief, but melting alapana, followed with swaras. The way he ended the song was as though he was reluctant to let go like we see off a friend till the train leaves (piriya vidai). He then sang ninnu nera (pantuvarali). The neraval and swaras were breathtaking. He was enjoying immensely the returns of the violinist. While, there may have been kanakku or whatever, there never was a moment when melody took back seat. A brilliant dhanyasi followed with alapaana by both him and the violinist. He sang swaras also. After a brief alapana, he sang Bagayanayya (chandrajoyti). Then he announced the RTP in Lalitha and Vasantha, in partial modification of the earlier announcement of Lalitha alone. He also explained that he would piece together a RM with the phrase nannu being common (that is too technical for me). All I know is it was an absorbing rendition, a fine team work. I think I heard Kalyani, Ahiri, Sankarabharanam, Anandabhairavi.
I found as a layman that there was a lot of creativity within the format that is said to be restrictive and aesthetics experts only can say whether Abhishek presented an aesthetic concert or not.

[Rsachi]

Sir,
What he meant was that when the raga changes, the word would be sung such that "nannu" would itself have the raga signature. He chose ragas where the "ga ma" would each have the raga personality.
Very creative and yes, aesthetic.

[rajeshnat]

Sachi
This kind of allied ragas pallavi , i recollect once long long time back hyderabad brothers have done it - I think they did it in harikambodhi - sankarabharanam cluster with two allied ragas.My memory is hazy now , some one who wrote the original review was it here or sangeetham can refresh me on that. Also few other artists have done it too- let me hunt the names in the weekend . you have missed mentioning the name of the violinist.

Any one who was at the concert ,
May I know if both ragas were handled in raga alapana, taanam ,pallavi neraval, swaras . It looks in pallavi neraval/swaras he did a ragamaliga of many ragas like vasantha, lalita, kalyani,ahiri, sbharnam, anandabhairavi as mentioned by hnbhagavan. Some times abhishek completely gives the taanam to violinist. I wish i was there at bangalore . keep it going abhishek,named violinist, anantha and guruprasanna .

[Rsachi]

violinist was Charulata Ramanujam.
The request for Lalitha RTP was made by Mrs Harini Raghavan, the organiser/office bearer of Nadasurabhi.
Abhishek said he would modify it a bit and make it lalitha-vasantha.
He sang lalitha at length, brought in a whiff of vasantha, and then shifted 100% to vasantha during alapana. Finally before concluding the alapana he did flashes of both alternately. the main raga was of course lalitha.
Charulata followed suit.
In Tanam again, lalitha first, vasantha next, a bit of both mixed up, closed with lalitha.

The way Abhishek sang it, L and V -they had crystal clear differences throughout.

Lalitā S R1 G3 M1 D1 N3 S S N3 D1 M1 G3 R1 S

Vasanthā S M1 G3 M1 D2 N3 S S N3 D2 M1 G3 R1 S

I think he sang Chandrajyoti just before the RTP to get the S R1 into a tonal cross-hair. That and the lower D1 established Lalitha very sharply for all of us.

[CRama]

Lalitha and Vasantha alternatively- it is a feat - very difficult to sing like that being closely allied ragas. But for Abhishek everything is child's play. Those who enjoyed the feat are definitely lucky ones. Hope that Chennai rasikas also will get that feast in this season.

[harimau]

I had to leave at the start of the pallavi with words Nannu Brovu Lalitha Vegame.. With the words Lalitha replaced by Vasantha, Kalyani etc. with change in raga also. I couldn't stay back for logistic reasons but I think I got the creamy portion of the concert already.

I stayed home and had a most enjoyable evening.

You should try that some time.

[Rsachi]

What an idea sir-ji!