G. Ravikiran’s RTP in pitch-perfect Pantuvarali stood out

G. Ravikiran.
| Photograph Credit score: Okay. Pichumani

A musician derives better pleasure if she or he may also benefit from the music whereas performing. G. Ravikiran appears to own this trait. His live performance consisted of two elements – one the place he was nonetheless taxiing and the later half the place he took off and cruised. An impressive Ragam Tanam Pallavi in Pantuvarali topped this proficient vocalist’s music.

Within the taxiing half, there was some tentativeness, slow-paced chugging and fluid forays. Ravikiran in all probability contributed to it by unorthodox begins in raga alapana of Hindolam and Sankarabharanam. One just isn’t certain whether it is a part of a theme. The kalapramanam of kritis akin to ‘Neerajakshi kamakshi’ (Hindolam, Dikshitar) and ‘Sadasivam upasmahe’ (Sankarabharanam, Dikshitar) utilized brakes to the momentum at essential factors. Whereas it appeared like a watchful begin, Ravikiran’s restoration and later fluency had been exceptional.

‘Sarasija’, a varnam in Nayaki (Khanda Tripuda) was adopted by ‘Sobillu saptaswara’ (Jaganmohini, Tyagaraja) which had niraval and swara at ‘dhararitsa’.

There have been phrases in Hindolam that appear to come back from Dikshitar texts, however not largely in vogue in performances. Ravikiran’s additional elaboration of the raga traversed effectively by way of the complete vary of feelings. Edapally Ajith Kumar responded with optimum impression. ‘Neerajakshi’ (Rupakam, 2 kalai) rendered in Ati-Vilamba kala was shiny however one just isn’t certain the tactic serves effectively in a two-and-half-hour live performance. Ravikiran maybe loved the problem of presenting it at that tempo, which requires ability too.

G. Ravikiran with Edapally Ajith Kumar (violin), Arun Ganesh (mridangam) and Nerkunam Shankar (kanjira).
| Photograph Credit score:
Okay. Pichumani

‘Atukaradani’ (Mararanjani) was the rusher piece that acquired the percussionists leap to the quick lane. Ravikiran’s Sankarabharanam began from the upper octave and after delineating over the complete circle ended there. He combined quick phrases, karvais and brigas in balanced proportions, usually eager to ascend to the upper notes with elan. The violinist Ajith Kumar charted a special however equally interesting course, together with his caressing touches that produced a elegant impact of the majestic raga. His delicate dealing with was a deal with. ‘Sadasivam upasmahe’ by Dikshitar (Adi two kalai) was additionally a tad slower however glowing sangathis and a formidable niraval on the madhyamakala strains of ‘purana purusham’ added nice elaborations. That is when the live performance reached the take-off level. Swaras had been additionally attention-grabbing with ‘pa ri’ usages in descends. Ajit Kumar’s taking part in was shiny and succinct.

Percussionists Arun Ganesh and Nerkunam Shankar got here to the fore within the Sankarabharanam manodharma half and launched an energetic tani that was pleasing.

Ravikiran, now cruising with a toned voice and in absolute management of his inventive thoughts, stepped into Pantuvarali ragam that had a excessive diploma of ‘ruchi’ exposition. The tanam was a notch higher, with raga phrases dominating it fairly than the mechanical syllables. Pallavi ‘Ramanathan bhajeham’ in Tisra Tripuda was well-planned and executed. Ravikiran’s deployment of excellent laya within the niraval would additional improve his credentials as a extra full vocalist. One additionally savoured the teamwork of the well-aligned accompanists below whose help, Ravikiran demonstrated his ‘swanubhava’. Sahana and Kannada had been the contrasting additions to the swara phase. A way of proportion got here again in these phases. ‘Thunga theera’ in Yamuna Kalyani (one has heard in different ragas) was additionally pleasantly rendered.

Ravikiran confirmed excessive competence in dealing with advanced elements of a live performance, particularly the pallavi. He’ll in all probability mirror on the tempo, until it’s designed to be a differentiator of his model of music. Ajith Kumar grabbed the chance of a seat on the excessive desk together with his subdued and but inventive show. Mridangist Arjun Ganesh and Sankar coped with the ebbs and flows within the tempo admirably.