G.S. Balamurali, who has a sonorous and powerful voice, presented an impressive vocal recital at Tharekkad in Palakkad recently. His distinctly emphatic style of singing bore testimony to his virtuosity.
The initial phase comprising the popular Thodi varnam Aeranapai (Kotlavasal Venkatrama Iyer), Sri Maha Ganapathim (Atana – Mysore Chamaraja Udayar), Paramatmudu (Vagadheeswari – Tyagaraja) and Vara Narada (Vijayasree – Tyagaraja) proved to be an ideal prelude to the concert.
The alapana of Keeravani was no doubt delectable, but the raga could have been explored to its full potential, for which there was ample scope. Similarly, the niraval as well as the kalpanaswaras in the Muthiah Bhagavathar kriti Amba Vaani were too brief.
The kritis Enta Muddo (Bindumalini — Tyagaraja), Gopalaka Paahi (Bhoopalam – Swathi Thirunal) and Marugelara (Jayanthasri — Tyagaraja) were not only welcome choices but also kept the momentum of the concert going.
Taking up Latangi as the main raga of the evening, Balamurali showcased the melodic charm of the raga, traversing in all the three octaves. He excelled in the rendition of the famous Patnam Subramanya Iyer composition Marivere Dikkevaru. The niraval at Manasaara Ninusaara in the charanam, though short, contained some beautiful sancharas. His innovative style of spinning the kalpanaswaras, particularly those with the middle octave ‘panchamam’ as the focal point, won the hearts of the listeners.
The ragamalika song Aarabhimaanam of Tarangambadi Panchanatha Iyer in numerous ragas was interesting. The moving Ennatavam (Kaapi – Papanasam Sivan) and the pleasing thillana in Charukesi, the vocalist’s own creation, were the concluding pieces.
Balamurali’s approach appeared to be to render as many compositions as possible instead of spending more time in raga delineation, niraval and so on. Providing able accompaniment, violinist Manjoor Ranjith proved his competence. M.K. Babu (mridangam) revealed his merits in his skilful display though he was a little aggressive at times.
Adichanellur M. Anilkumar’s support on the ghatam was valuable. Although the taniavarthanam was in Khanda chapu tala, after the kriti Marivere Dikkevaru (as against the usual convention), the percussion duo rose to the occasion and produced an outstanding tani.
The programme was held under the aegis of Palghat Fine Arts Society.