R Suryaprakash at Muscat, Oman - 15th November 2014

[KMH]

R Suryaprakash : Intellectual Musician
The Tyagaraja Samiti of Muscat, not quite the equal (yet) of the more illustrious Cleveland version, has been conducting a Trinity Day, among other carnatic events, every year for about two decades now. Trinity Day celebrations allow the twenty plus teachers in town to showcase the talent of their students in group performances. A senior artiste is invited every year to preside over the day’s programme, and traditionally the chief guest gives a concert the next day. This year’s chief guest and concert artiste was R Suryaprakash, and this is a rasika’s review of his concert.

Suryaprakash has a pleasant stage presence. He dedicated the concert to the health of His Majesty Sultan Qaboos, who is perhaps one of the most loved rulers in the entire world today. Suryaprakash’s asset is his ability – and willingness – to interact with the audience. In the introduction, the organizers mentioned his incorporation of techniques gleaned from the music of Semmagudi, KVN, GNB and Ramnad Krishnan, besides that of his guru TVS. He amply vindicated this claim. There were shades of all the greats in his alapnas, niraval and swarams. Following an invocatory slokam, he started with Mahaganapathim in Nattai, with some brisk swarams to loosen his throat. Evarani in Devamritavarshini was next, followed by a leisurely essay in Arabhi. Violinist Ananthapadmanabhan’s repartee was equally melodious. It was pleasant to hear juthamurare after a long time. Like KVN, Suryaprakash chose to start the next kriti Mayamma in Ahiri at the anupallavi, emphasizing the “nyayama”, driving home the imploring emotion of Syama Sastri’s masterpiece. A brief but evocative Saranam Ayyappa followed to the delight of both the Tamil and Malayali audience. Suryaprakash did a fine job of Kalyani alapana, the main piece of the concert, and rendered Abhayamba Jagadamba of Muttuswami Dikshitar. After the alapana, he explained the unusual higher octave madhyama prayogas, highlighting the genius of Dikshitar. The centerpiece of the day lasted nearly an hour with a neat niraval and crackling TVS style swarams, followed by thani avartanam by Ram Mohan on the mridangam and Raguram Hari on the morsing. Both are local artistes, and their class, honed by regular performances with all visiting artistes, was evident in the excellent thani.

Cleverly keeping track of the clock, Suryaprakash skipped the customary interlude before launching into Abhogi RTP. This was a special request by some of the rasikas made the previous day at an informal breakfast meet with the artistes. I was particularly pleased, as I have often bemoaned the lack of RTPs in Abhogi during the Chennai season. The pallavi, a tribute to the Trinity, was constructed at short notice, and while not unique, was well constructed and delivered, very much in the TVS style, with a limited ragamaliga (limited in numbers, not in melodic treatment) featuring Soorya, Chandrakauns, and Sivaranjani.

Suryaprakash was by now in his element. He was repeatedly eyeing the clock, as the team had to fly out that night. But it did not stop him from doing some exquisite swara singing, Mani Iyer fashion, in Kapi Narayani (Sarasa samadana). He then paid tribute to the local deity with Krishna nee begane baro. A short viruttam preceded kandan karunai puriyum vadivel in Bhimplas. His own thillana in Shuddha Sarang (on request), was an indication of his ability as a composer. It was clear that the audience had witnessed a thinking musician, at ease with his music, who enjoyed singing as much for his own satisfaction as for entertaining the audience. The concert lasted nearly four hours, but his voice held extremely well till the end. He had won a huge fan base with his very first visit to Muscat!

[sranjani]

EXCELLENT REVIEW enjoyed reading it , a true rasika indeed