A grand treat
SCHOLARLY T.V. Gopalakrishnan proved his versatility in the concert
The annual 24th Talavaadyotsava-2005 was held for five days under the aegis of the Percussive Arts Centre, led by the young percussionist V. Krishna, with the assistance of JSS Sangeetha Sabha, Mysore. The event took place at three different venues — J.S.S. Auditorium, Ananya Sabhangana and Chowdaiah Memorial Hall. The Talavaadyotsava was inaugurated by the Principal Accountant General K.P. Lakshmana Rao and the renowned art patron Dr. A.H. Ramarao. Percussionists L. Bheemachar, H.S. Sudheendra and B.C. Manjunath received different awards.
On the inaugural day, veteran mridangist and multi-faceted artiste T.V. Gopalakrishnan excelled as a vocalist and rendered a delightful concert with a fine support lent by Mysore Manjunath (violin), T.V. Vasan (mridanga) and G. Guruprasanna (khanjari).
He began with the eulogisation of Lord Ganesha ("Gajavadana Pavana"). The chittai swaras and the kalpanaswaras studded on to it had an abundance of laya patterns. "Terateeyaka raada" (Gowlipanthu) in a lively tempo warmed up the vocalist. Though he had some voice problems in the tarasthayi, his artistry made up for it. He enthralled the audience by singing an interesting Swati Tirunal krithi "Sarasijanabha Maam Paahi" in Kedara raga. The pallavi of the composition starts in vilamba kaala, anupallavi in madhyalaya followed by charana, in both madhya and drutha laya. Added to this was an enticing chittaiswara. That TVG is a versatile artiste was proved in the very manner he handled this krithi.
The delineation of Poorvi Kalyani ("Ninnu Vinaga Mari") revealed his keenness in the sahitya. He took care to project both the musical face and the exercise aspect with his planned neraval (at "Pannaga Bhushanuni") and swaras.
Unusual
On the second day, young Allam Durgaprasad scored well with his Gottuvadya recital. Appropriately accompanied by H.K. Narasimhamurthy (violin), B.C. Manjunath (mridanga) and G. Omkar (ghata), his concert vouched for his talent and Kutcheri skills. I felt he could go deeper into the realms of ragas and aim at the rasikas. "Gajanana Yutham" in Chakravaka was embroidered with raga alapana and kalpanaswaras. The speed with which he rendered "Janaki Ramana" (Shuddha Seemanthini) was sure evidence of his tendency to speed up his rendition. Dharmavathi (Dikthitar's "Paramdhamavthi" with swaras), Mandari ("Ninnu Jeppa Karana"), Saama ("Manasa Sancharare") also seemed to follow in the same line.
A detailed Charukeshi ("Kripaya Paalaya"), Anandabhairavi ("Marivere") and "Manasuloni" saw him indulging in the type of melodic meandering for which they afford scope.
The talented V. Kalavathy Avadhoot gave a brilliant vocal recital at the JSS auditorium on the penultimate day of the festival. Endowed with a rich voice and equally rich musical imagination, she could carve the nuances of Carnatic music with ease and ιlan.
Her presentation of Gowrimanohari ("Shivashankara"), Kamavardhini ("Raghuvara Nannu"), Kalavathi (for a Dikshitar's quaint krithi "Kalavathi Kamalaasana Yuvathi" on Devi) and Madhyamavathi ("Paalimchu Kamakshi"), it was evident that she had a great clarity of ideas.
Three factors were noteworthy — brevity, a clear idea of raga swaroopa and a crisp rendering of keerthanas, enunciating the sahitya without distortion. Charulatha Ramanujam (violin), Ganapathiraman (mridanga) and C.P. Vyasavittala (khanjari) provided able support.
M. SURYA PRASAD
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