On the 8th day of Ramabhyudaya Sabha’s Ramotsava, Karnatak vocalist Ashwath Narayan gave a vocal recital with Mattur Srinidhi on violin, K.V. Prasad on mridanga, Sukanya Ramgopal on ghata and Purushotham on khanjira. Ashwath Narayan has been fortunate to learn music from one of the greatest maestros of all times, Sangeeta Kalanidhi Palghat K.V. Narayanswamy, who saw the raw talent in him and polished it to bring out the true colours in him. Today Ashwath Narayan is already one of the most wanted voices, who is in demand from every organiser.

Ashwath Narayan sang with maturity. The opening piece ‘Jaya Jaya Jaya Janakikaanta’ by Purandara Dasa was lively and energetic. Ramapriya, the sub-main item of the evening, an unusual choice, kept its unique structure beautifully intact. Tyagaraja’s ‘Sandehamu Deepavayya Saketanilaya Ramayya’ was excellently rendered with a detailed neraval at the last part of the charana ‘Bharatachala Che Padukanu.’  While Deekshitar’s ‘Mamava Pattabhirama’ in Manirang was blissfully presented, Mysuru Vasudevacharya’s very popular ‘Brochevarevarura’ in Kamas was unhurried and pleasing with a neraval at ‘Aturamuga Karirajuni Brochina’, bringing out every nuance and carefully giving it the presentation it deserves as the central focus of the presentation. The taniyavartanam was grand with three percussion instruments —  mridanga (K.V. Prasad), ghata (Sukanya Ramgopal) and khanjira (Purushotham).

The post-tani part was also impressive with Kanakadasa’s ‘Baro Krishnayya’ (Ragamalika), Tyagaraja’s ‘Pavanaja stutipatra (on request) in kuranji, Tulasidas bhajan ‘Shri Ramachandra krupalu bhajamana’ and a Lalgudi tillana in Behag.

By Dr. Padmavathi Narasimhan