Vidushi Koviladi Archana’s concert at Raaga Music Academy’s monthly concert on the 16th of February at Prajna Kuteera Ayurveda Centre in Kuvempunagar was a befitting tribute to the great parampara she upholds.

Granddaughter of Haridasa Sahitya Ganarathna Koviladi Rangarajan and an ardent disciple of Guru Koviladi R. Kala, Archana exhibits the deep-rooted tradition in her singing while providing her own unique touch in her manodharma. Archana was ably supported by Vid. B. K. Raghu on the violin, Vid. A. Radhesh on the mridanga and Vid. S. Manjunath on the ghata.

Commencing the concert with the ever popular Varna in Raga Kalyani set to Attatala, Archana set the mood amongst the audience. The quick pace and the rhythmic patterns of the chitteswara were captivating. The next to follow was Vallabha Nayakasya, a composition of Muttuswamy Deekshitar in raga Begade. Next was a short alapana in raga Malayamaruta followed by the krithi Manasayetulothunae, a composition of Saint Thyagaraja. The neraval at Kalilo Rajasa Tamasa was very soulful.

Saint Tyagaraja’s subtle message “In this Kaliyuga, instead of wasting time associating with men of sloth and lethargy and those who are engaged in worldly activities all the time, you should adopt the pleasant way of devotion and redeem yourself” was beautifully brought out by Archana. Shyama Shastri’s Kamakshi Bangaru in Varali and Yaavakulavu Tiliyalaagadu by Purandaradasa followed in quick successio.

Archana took up the main piece of the evening with a detailed rendition of Bhairavi Ragam. Muttuswamy Dikshitar’s masterpiece Balagopala followed. This composition was aptly decorated with neraval at Neela Neerada Shareera. The violinist B.K. Raghu stood out throughout the concert with smooth bowing. A lovely dialogue of creative patterns in kalpanaswaras between the artistes, all of them infusing energy on to the stage was evident.

Vid. Radhesh and Vid. Manjunath excelled in a dialogue of percussions during the Tani Avarthanam. The soft gentle strokes of the instruments while the vocalist sang and the brisk rhythmic patterns in different arithmetic combinations during the taniavarthanam were well- appreciated by the audience.

Focus of the concert was a Raga Tana Pallavi set in raga Brindavana Saaranga. The raga and the tana were beautifully presented. A notable feature of the Pallavi was the tala in which it was presented. Trimukhi Tishra Triputa Tala as it was called, consists of two sets of arithmetic combinations in one cycle. Archana’s presentation of the Pallavi was scholarly. It was a delight for the raskias to watch the tala and listen to the pallavi as it unfolded.  

The lyrics Ranga Sriranga Panduranga Sadayapanga Satsanga composed by Vidushi Archana herself, was befitting. Kalpanaswaras in Ragas Hamsadhwani, Ranjani and Kaanada were well presented. The percussionists decorated the ending of the rendition, structured in a rather difficult tala, with a brisk mohara and mukthaya.

A soulful Tungateeravirajam on Sri Raghavendra Swamigalu, a composition of Kamalesha Vittala Dasaru was next on the list. The concert ended with a Thillana in raga Madhuvanthi composed by Lalgudi Jayaraman.

Archana has a great voice capable of modulations at all octaves. She is surely a fine vocalist who is ready to experiment on new concepts while remaining grounded to tradition. Raaga Music Academy needs to be commended for organizing concerts by artists of highest calibre.

Prior to the concert, Dr. N.V. Krishnamurthy, Director, Prajna Kuteera, interacted with the audience during a talk on Healthy Living through Ayurveda and Yoga. Guru Vidushi Koviladi R. Kala has been training numerous students in Karnatak Classical Music. Her disciples had also organised a Guruvandana during this concert which was well-attended.

—Raghunandan Vyasa Rao