7 months ago
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Rahul Vellal, who hails from Karnataka and is the victor of the Global Child Prodigy Awards 2020 among others, presented a repertoire of acquainted and much-loved compositions astatine his caller performance astatine Krishna Gana Sabha. The vocalist was accompanied by B. Anantha Krishnan connected the violin, Trivandrum V. Balaji connected the mridangam and S. Krishna connected the ghatam.
Opening with ‘Tattvamariya tarama’ successful Reetigowli by Papanasam Sivan, Rahul brought retired the gentle grace of the raga. His kalpanaswaras were neat and unhurried, flowing people into the adjacent creation — Dikshitar’s ‘Sarasija nabha sodari’ successful Nagagandhari — a creation that acceptable a tranquil mood.
In an epoch of elaborate presentations, it’s refreshing to witnesser a performance that stays existent to the basics — simple, neat and heartfelt. A crisp Lathangi alapana followed, its contours intelligibly etched and complemented by a soothing violin response. It was yet different Papanasam Sivan creation — ‘Pirava varam tharum’. The anupallavi featured intricate sangatis and the kalpanaswaras began astatine ‘Pirava Varam’.
Rahul besides chose to see respective assemblage favourites specified arsenic ‘Kanrin kuralai ketu’ (Mukhari), ‘Bhogindra sayinam’ (Kundalavarali), ‘Naan oru vilayattu bommaiyaa’ (Navarasa Kaanada), and ‘Jagadhodharana’ successful (Kapi), spanning the works of Neelakanta Sivan, Swati Tirunal, Papanasam Sivan and Purandaradasa.
Rahul’s performance was simple, neat and heartfelt. | Photo Credit: Special Arrangement
The item of the evening unfolded successful Keeravani with a manodharma that beautifully captured the raga’s essence. The violin’s delicate responses heightened the atmosphere. ‘Kaligiyunte’ by Tyagaraja followed a poised, unembellished rendition featuring niraval and kalpanaswaras astatine ‘Baguga sri raghu ramuni padamula’ executed successful 2 kalams. The violin’s assertive code lent spot to the rendition.
The thani began with the mridangam, presenting a distinctive tonality, complemented by Krishna’s impeccably wide playing. Their seamless interplay concluded with a crisp 32-beat korvai that drew appreciation.
The soulful ‘Pibare ramarasam’, acomposition of ‘Sadashiva brahmendrar’ reflected genuine bhava, yet the mridangam’s somewhat hurried gait seemed astatine likelihood with the composition’s reflective spirit.
As the evening neared its end, the temper turned devotional. The energetic bhajan, ‘Hari mana’ successful Brindavana Saranga, was followed by the reverent ‘Hara hara Shankara Jaya Jaya Shankara palayamam’ successful Revati. The patriotic ‘Jayathi jayathi bharata mata’ successful Khamas brought vibrance, earlier Rahul concluded with the timeless ‘Maithreem bhajatha’ and ‘Mangalam’.
