Abhishek Raghuraman @ Adampakkam Sapthaswaralaya- Apr 30 '10

[sureshvv]

Never got to post to review. Pls, excuse my tardiness. But may be worthwhile in view of his latest concert at Narada Gana Sabha.

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Abhishek Raghuram, clad in immaculate white and sporting a young Elvis like sideburns, flanked by Mysore Srikanth and Sherthalai Ananthakrishnan presented a cracker of a concert for Adampakkam Sapthaswaralaya on Fri Apr 30th. The song list was short, but not the exploratory zeal of Shek who brought a new depth in kriti exposition to the concert comprised of predominantly Dikshitar compositions.

The concert started with a brisk Nayaki varnam in Khanda triputa talam. Rather than get bogged down in an elaborate ata tala varnam with several charanams that seems in vogue these days, Abhishek chose this breezy varnam and the golden "ganeer" voice with just a hint of breaking at higher registers made it abundantly clear that the audio system was well calibrated and provided the promise of a memorable evening.

A short 30 second brigha laden overview of Shanmukhapriya with Mysore Srikanth deftly accentuating the staccato phrases turned into the launchpad for Siddhi Vinayakam Anisham. Every phrase seemed original and spontaneous. The sharp unfailing crack of the tala beat was like an added upapakka vadhyam as he stretched and shrank the intervals at will. Shek's attention to the presentation of lyrics was evident. Prasidha Gana nayakam saw a segue into a some beautiful fast swaras and concluding with a crowning avarohanam prasidha gana nayakam flourish.

It was not time for an alapana yet. A brief minute-and-a-half lilting Kedaram overview led to Anandanatana prakasam. Shek's amazing creative ability to interpret the kriti came to the fore here. A long karvai at sangeetha vaaadhya and beautiful embellishments around vinodha brought out the beauty of the poetry in the composition. Shek launched into a slow swara prasthara here.

Todi alapana started at a soaring Tara sthayi. Punctuated with pregnant pauses, the alapana mostly hovered around the high registers. There was some nice challenges and repartees with the violin including some hearty sabashes. This was an instance where the alapana provided a counterpoint to the kriti that followed - Sri krishnam Bhaja manasa. Todi lasted more than an hour with an elaborate neraval and swaras at pankajasanadi. It appeared that Shek drew a blank at the neraval line initially and Srikanth chalked up an assist by prompting the words.

[mahavishnu]

@Suresh: Do you remember who played mridangam for this concert?

[sureshvv]

Shertalai Ananthakrishnan. There was no upapakkavadhyam.

Thukkadas included a most melodious Saramaina and then Enna Thavam Seidhanai.

Think I may actually want to hear Kurai onrum illai sometime.

[nadhasudha]

The song list was short, but not the exploratory zeal of Shek who brought a new depth in kriti exposition to the concert comprised of predominantly Dikshitar compositions.

After having listened to his Margazhi Utsavam Concert I cannot but agree. It was refreshing to see him explore oft repeated krithis in his own imaginative way. Case in point - Sadinchane and Muddu Gare.