By Dr. Padmavathi Narasimhan
American born Indian classical vocalist Aditya Prakash gave a Karnatak vocal concert on the 4th Day of Paramparika Ganeshotsava at 8th Cross, V.V. Mohalla on Sept.16. Aditya impressed the gathering with his powerful and emotive voice. In the concert, he was accompanied by Nishant Chandar on violin, Ambur Padmanabhan on mridanga and G.S. Ramanujam on ghata.
‘Vatapi Ganapatim Bhajeham,’ Deekshitar’s best known composition, was suitably chosen for the occasion and the kalpana swaras developed quite unusually at ‘Murari Pramukhadyupasthitam’ were extensive and luxurious. ‘Mamava Meenakshi,’ another composition of Deekshitar in Varali set to Mishra Chapu was prefixed by an elegant alapana and the sahitya ornated at ‘Shyame Shankari Digvijaya Pratapini,’ followed by refined swaras. It is interesting to note that Deekshitar has made a reference to ‘Vallaki’ Veena in the pallavi of this composition — ‘Manikya vallaki pani’ (she who holds the Ruby-studded vallaki veena).
‘Ramanama Payasakke Krishna Nama Sakkare’ by Purandara Dasaru in Ananda Bhairavi was a welcome surprise but could be enjoyed better if without the shruti issue which persisted throughout the concert later. ‘Nada Tanumanisham Shankaram’ by Tyagaraja in Chittaranjani and ‘Parama Purusham’ in Lalita Panchama in Khanda Chapu by Swati Tirunal were good fillers.
Aditya Prakash from Chennai is seen presenting a vocal concert at 8th Cross, V.V. Mohalla, in city on Sept.16 as part of the 57th Heritage Music Festival with Ganeshotsava organised by Sri Prasanna Vidya Ganapathi Mandali Charitable (SPVGMC) Trust. He is accompanied by Ambur Padmanabhan on mridanga, G.S. Ramanujam on ghata and Nishant Chandar on violin.
The main attraction of the evening was Bilahari. Aditya developed the raga well. The rendition showed the influence of violin in a few sancharas in the ragalapana, especially in the ‘jaru’ gamakas.
The choice of ‘Sri Chamundeshwari palaya mam’ brought smiles to the elderly audience.
The Charana part ‘Raka Nishakara Sannibha Vadane’ was chosen for elaboration and the kalpana swaras were extravagant.
Ambur Padmanabha and Ramanujam offered a vibrant taniyavartanam.
The post-tani part brought a few chutukas. The first was a shloka on Krishna; ‘Kasturi tilakam lalata phalake’ split in various ragas — Kapi, Hamsanandi, Suruti and finally, Neelambari leading on to ‘Madhava Mamava Deva’ (Narayana Teerthar). ‘Ranga Baro Panduranga Baro’ in Maand by Purandara Dasaru, Swati Tirunal Bhajan ‘Vishweshwara Darushan kar,’ Puranadara Dasaru’s popular ‘Jagadoddharana’ sung by almost all the musicians on this dais this season and the Jhanjuti tillana of Veene Seshanna were enjoyable.
Aditya has a voice made for singing. If he dedicates himself to only Karnatak music, his music will have more depth and involvement.
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