On the second day of Bhagini Sangeethotsava, Vid. G. Ravikiran from Chennai gave a vocal concert with Keshava Mohankumar from Mysuru on violin, B.S. Prashanth on mridanga and Sharath Kaushik on ghata.

Ravikiran is a disciple of R.K. Srikanthan and T.M. Krishna but the influence of the latter shows more in his singing. A great fan of Sri Muthuswami Dikshitar, Ravikiran has founded ‘Guruguhamruta,’ a Trust dedicated to popularisation and propagation of Dikshitar compositions.

Ravikiran is always good in selecting the compositions for his concerts. Rising to the occasion, he had chosen a handful of divine compositions on Lord Rama. The opening composition ‘TuLasi daLa mula che’ in Mayamalavagowla was a good choice to begin with. The charana part ‘Sarasiruha punnAga champaka pATala’ saw kalpana swaras filled with raga bhava. After a quick ‘ChalamElarA sAkEta RAma by Sri Tyagaraja in Margahindola, Harikambhoji was taken up for detailed rendition.  He adopted a relaxed tempo, emphasising clarity and speed in the alapana and Keshava’s reply was confident and emotive. The composition as expected was Sri Tyagaraja’s ‘Dinamani Vamsha tilaka lAvaNya.’ The swarakalpana explored the depths of the raga and was therefore appealing, though he did not opt for complicated calculations, in spite of his potential.

Sri Tyagaraja’s evergreen kriti ‘NagumOmu galalEni’, the beautiful appealing composition ‘Heccharika gA rA RA he RAmachandra’ in Yadukulakambhoji and the pleasing ‘VAchAmagOcharame’ in a rare raga Kaikavashi were all great fillers.

The toast of the evening was Thodi, which was dealt with in detail. The ragalapana steeped in unalloyed classicism was adorned with powerful gamakas, without overdoing brigas or frills.

Keshava’s rendition of Thodi was equally brilliant. It is a pleasure to watch this boy from the HKN school grow tall in the field. The rendition of ’Enduku dayarAdurA  Sri RAmachandra’ by Sri Tyagaraja set to Mishra chapu tala with an expansive neraval at ‘Tyagarajavinuta tArakacharita’ was clear diction and the swarakalpana was very pleasing without too much of technicality or Arithmetics.

B.S. Prashanth’s support on mridanga was soft but lively and his interesting exchanges with Sharath Kaushik on ghata in Taniyavartanam brought enjoyable moments in the concert.

After the Tani, the popular ragamalika ‘TungAteeravirAjam’ and the ever-enchanting devaranama in KApi ‘JagadOddhArana’ by Sri Purandara Dasaru were sung with sweet melody.

There were moments in the concert when one felt Ravikiran could go full-throat. When one learns from a Guru for a long duration, imitation perhaps becomes inevitable. Imbibing the style from the Guru is understandable but is imitation necessary? — is the big question.

It may also happen unknowingly or unintentionally. As T.M. Krishna’s foremost disciple, Ravikiran brings in shades of his Guru’s influence in his usage of ‘l’karas in the ragalapanas, in his musical dialogue with the violinist, in his voice modulations, etc.

Ravikiran concluded the concert with the celebrated mangalam of Bhadrachala Ramadasa ‘RAmachandrAya janaka’.

—Dr. Padmavathi Narasimhan