Chitraveena N Ravikiran @ Narada Gana Sabha

[Sivaramakrishnan]

Main auditorium
18-12-2019 (04.00-06.30 pm.)

N. Ravikiran-Chitraveena
Delhi P Sundararajan- Violin
Trivandrum KV Balaji-Mridangam
Sarvesh Karthick-Electronic percussion

(The concert was part of the Annual Isai Natya Nataka Vizha organised by the Sabha
and duly inaugurated on 13.12.2019 by Former Attorney General Sri K Parasaran).

N Ravikiran presented an excellent recital in the traditional Chitraveena instrument.

List of compositions:

1 Vallabhanayakasya Bhakto Bhavami- Begada-Rupaka-Dikshitar
2 Mosabogu vinave- Goulipantu-Aadi-Tyagaraja
3 Budhamasrayami-Natakurinji-Misra jhampa- Dikshitar
4 Ennaganu Ramabhajana- Pantuvarali-Rupaka-Bhadrachala Ramadas
5 Nannuvidachi-Reetigoula Misrachapu-Tyagaraja
6 Koniyaadina napai-Kamboji-Aadi-Veena Kuppier (Main followed by Tani)
7 Itusaahasamulu (Javali) -Saindhavi – Aadi-Swati Tirunal
8 Tillana- Kalyanavasantham-Khandachapu-N Ravikiran

The opening Begada kriti which was embellished with a few rounds of precise, raga-rich kalpanaswaras @ Valleevivaahakaranasya set the concert in good form.

It has been quite long since I heard the Goulipantu kriti of Tyagaraja in Chennai concert circuits. Played in a befitting kalapramana, it augured well with the early evening time of the day. A brief and succinct Alaapana of Natakurinji preceded Budhamaasrayaami the celebrated vaarakriti of Dikshitar. Here too the swaraprastaras were rendered for charana passage kinkarajanamahitam which was again an interesting deviation from the customary Pallavi spot.

The ‘submain’ Ennaganuramabhajana was provided with ample neraval and brilliant swara passages. The preceding pantuvarali alapana had the attraction of the maestro's special prayoga (may be referred to as 'breathless takes') where intricate sancharas of long duration are played without pluckings of the string but only with movements of the left hand with the horn traversing on the strings.

A leisurely Nannuvidachi (Reetigoula) was the next composition. The rendition was notable for the sahitya-fidelity.

The stellar kriti of Veena Kuppier, Koniyadinawas perhaps the best selection for an expansive Kamboji suit with a detailed alapana. Neraval and swaraprastaras were framed around the sahitya passage ‘Neelakanta Sri Kalahastheesa’.

‘Itusaahasa’ - Javali of Swati tirunal in the unique Saindhavi raga (Kharaharapriya scale in madhyamasruti) and his own Tillana in Kalyanavasantham were the concluding pieces.

Accompanying artists Delhi Sundararajan (Violin), Trivandrum Balaji (Mridangam) and Sarvesh kartik (who handled a unique electronic percussion gadget) played their role satisfactorily. The Tani was brief and beautiful. Ravikiran’s emphasis seemed to lay more on the aesthetics in the concert. Laya intricacies-his forte especially in swaraprastara segments- were minimal.

Celebrity danseuse Dr Vyjayantimala Bali's presence at the concert was special to the occasion and Sri Ravkiran paid rich tributes to her.

[Sachi_R]

Thanks @Sivaramakrishnan for a fine review!