If Chitravina Ravikiran is leading the show, can a mix of classicism and variety be far behind? ‘Brahmam Satyamayam,’ a vocal and instrumental show he conceptualised as part of Muhurtham Festival held to celebrate social harmony at Amma Arangam, Anna Nagar, Chennai.
The programme featured artistes from various States, prominent among them being the young vocalist Magizhan Paridhi (14) from Tiruppur, near Erode, and vocalist Petreeza Sabu from Kerala. Both are currently being trained by Chitravina Ravikiran.
Magizhan has learnt music from Ravikiran and his disciple Bhargavi Balasubramanian.
Petreeza, who performs Carnatic music concerts, has a Master’s degree in music from Sree Sankaracharya University of Sanskrit, Kalady, and is trained by the maestro.
The young musicians were joined by Delhi P. Sunderrajan (violin), Jayaprada Ramamurthy (flute) from Andhra Pradesh and Sai Giridhar (mridangam), Bhargavi, Anahita and Apoorva (Ravikiran’s disciples) and Archana Upadhyaya from Karnataka (vocals) and Narayanan Raman from Chennai (Keyboard).
Well-trained
The Chitravina maestro brought out his best at every juncture. The accompanying instruments violin, flute, mridangam and keyboard ruled high on the melodious front. Magizhan’s asset is his rich timbre.
Petreeza with her clear diction and improvisations proved her grooming at every opportunity.
Bhargavi, Anahita, Apoorva and Narayanan Raman were at their best. A selection of Tamil songs, Thirukkural and a Melharmony piece (involving only the instrumentalists) laid the foundation for a harmonious Pongal mood. While Jayaprada gave the concert a rich feel, Sunderrajan and Sai Giridhar added great value.
The highlight was a Melharmony piece in Hamsadhwani created by Ravikiran, who led the instrumentalists. Another one that Ravikiran had set to the Thirukkural ‘Padai Matchi’ (Ragamalika) about the greatness of an army was rendered by the vocalists.
As for the rest of the show, the performers took turns to present master-pieces such as ‘Gananathane’ (Saranga) with swarakalpana, Oothukkadu Venkata Kavi’s ‘Bhajanamruta’ (Nattai), an alapana preceding Tyagaraja’s ‘Appa Rama bhakti’ (Pantuvarali) with niraval swara, Ravikiran’s ‘Om Saravana bhava’ (Kuntalavarali) and an Anandabhairavi raga essay before Oothukkadu Venkata Kavi’s ‘Prema Swarupa’ (Anandabhairavi) followed by kalpanaswara.