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

G. Ravikiran.
| Photo Credit: K. Pichumani

A musician derives greater joy if he or she can also enjoy the music while performing. G. Ravikiran seems to possess this trait. His concert consisted of two parts – one where he was still taxiing and the later part where he took off and cruised. An outstanding Ragam Tanam Pallavi in Pantuvarali crowned this talented vocalist’s music.

In the taxiing part, there was some tentativeness, slow-paced chugging and fluid forays. Ravikiran probably contributed to it by unorthodox starts in raga alapana of Hindolam and Sankarabharanam. One is not sure if it is part of a theme. The kalapramanam of kritis such as ‘Neerajakshi kamakshi’ (Hindolam, Dikshitar) and ‘Sadasivam upasmahe’ (Sankarabharanam, Dikshitar) applied brakes to the momentum at crucial points. While it seemed like a watchful start, Ravikiran’s recovery and later fluency were remarkable.

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

There were phrases in Hindolam that seem to come from Dikshitar texts, but not largely in vogue in performances. Ravikiran’s further elaboration of the raga traversed well through the full range of emotions. Edapally Ajith Kumar responded with optimal impact. ‘Neerajakshi’ (Rupakam, 2 kalai) rendered in Ati-Vilamba kala was bright but one is not sure the tactic serves well in a two-and-half-hour concert. Ravikiran perhaps enjoyed the challenge of presenting it at that tempo, which requires skill too.

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

‘Atukaradani’ (Mararanjani) was the rusher piece that got the percussionists jump to the fast lane. Ravikiran’s Sankarabharanam started from the higher octave and after delineating over the full circle ended there. He mixed short phrases, karvais and brigas in balanced proportions, often keen to ascend to the higher notes with elan. The violinist Ajith Kumar charted a different but equally appealing course, with his caressing touches that produced a sublime effect of the majestic raga. His sensitive handling was a treat. ‘Sadasivam upasmahe’ by Dikshitar (Adi two kalai) was also a tad slower but sparkling sangathis and an impressive niraval at the madhyamakala lines of ‘purana purusham’ added fine embellishments. This is when the concert reached the take-off point. Swaras were also interesting with ‘pa ri’ usages in descends. Ajit Kumar’s playing was bright and succinct.

Percussionists Arun Ganesh and Nerkunam Shankar came to the fore in the Sankarabharanam manodharma part and launched an active tani that was enjoyable.

Ravikiran, now cruising with a toned voice and in absolute control of his creative mind, stepped into Pantuvarali ragam that had a high degree of ‘ruchi’ exposition. The tanam was a notch better, with raga phrases dominating it rather than the mechanical syllables. Pallavi ‘Ramanathan bhajeham’ in Tisra Tripuda was well-planned and executed. Ravikiran’s deployment of good laya in the niraval would further enhance his credentials as a more complete vocalist. One also savoured the teamwork of the well-aligned accompanists under whose support, Ravikiran demonstrated his ‘swanubhava’. Sahana and Kannada were the contrasting additions to the swara segment. A sense of proportion came back in these phases. ‘Thunga theera’ in Yamuna Kalyani (one has heard in other ragas) was also pleasantly rendered.

Ravikiran showed high competence in handling complex parts of a concert, especially the pallavi. He will probably reflect on the tempo, unless it is designed to be a differentiator of his brand of music. Ajith Kumar grabbed the opportunity of a seat at the high table with his subdued and yet artistic display. Mridangist Arjun Ganesh and Sankar coped with the ebbs and flows in the tempo admirably.