Music & dance reviews
Young vocalist S Saketharaman may not perform frequently in the City, but he is not a stranger to music lovers.
Delightful feast for music lovers
The annual Gokulashtami concerts are being organised under the aegis of SGBS trust, at their newly built auditorium Unnati Centre, Sadanandanagar, Bangalore.
The programme will continue till Aug 16 which includes vocal, violin solo, mandolin concerts. Young vocalist S Saketharaman may not perform frequently in the City, but he is not a stranger to music lovers. His selection and presentation of kritis were a proof of his talent and training. Through his cultivated voice and concert craft, it was hearty listening throughout. Drawing his inspiration from the dignified compositions of reputed composers, he built a reverberating base in several keerthanas.
At the peak of the concert, he chose to present "Evarimaata", the majestic krithi of saint poet Thyagaraja, which brought nostalgic memories. It was the choice of great masters from several decades, for elaboration.
His prelude of the alapanaportrayed a colourful picture of the raga and gave a good idea of the feast that was to follow. It was invested with meaningful nerval (Bhaktha Paradhina). The impact bristled with an enduring swaraprasthara. ‘Baro Krishnaiah’, the popular devaranama and 'Mamava Madhava' the well known devotional, also pleased the gathering. In total, it was a reassuring recital and sure sign of Saketaraman's steady progress. M A Sundareswaran on violin and Guruprasanna on khanjari gave good support, while veteran percussionist Umayalapuram Shivaraman was the star attraction.
Nithyasree Mahadevan, who sang on Wednesday, in the Gokulashtami concert series, proved once again, that she is a crowd puller always. Raghavendra Rao, Vaidyanathan and Srishyla gave her good support on violin, mridanga and ghata respectively. Right from the opening piece, her voice touched the peak form as she was in fine fettle. Few enchanting krithis were rendered with good feeling rising the emotional fervour to a trance. For instance ‘Thyagarajaya Namasthe’ assumed a stately presence. Kannada devaranama ‘Narayana Enniro’ with crisp Chitteswara was also rendered attractively, while the ‘Kannatandri’ was in slightly ‘Drutha Kaala’. A spacious alap followed the composition ‘Adigi Sukhamu’. The lilting swara gave it a haunting tilt. With impressive nerval (Neeke daya) it was wholesome too.