A little bit of TV Ramprasad stood out with its detailed melody, work and accent
Proficient with a powerful and humble voice, Ramprasad carried out a well-organized live performance. He began with a short introduction to the Bagda raga ‘Tanavari Tanamu’, a piece of Tyagaraja. Swarakalpana in Pallavi on the finish of the work was an entire package deal highlighting particular signature phrases for Bagda.
The Ritigovala that adopted was a tragic tune, which was described intimately specializing in the raga bhav. Akras and in depth actions added additional sparkle to the alapan. Ramprasad selected ‘Sithanayak Shreeta Jana Palaka’ from Tyagaraja’s Divyanam Sankirtanam and his vowel sequences in Pallavi had been spectacular.
The Peace De Resistance of the live performance was a large raga alapana and Kriti Kumar Atendra’s ‘Gajavadan Samodita’. The presentation of Ramprasad’s raga essay and work matched the grandeur of the half completely. Utilizing the unparalleled line ‘Vijayaollasa Valli Kataksha Patra’, vivid tone matrices had been created after a chic nirvana. The ultimate conclusion of the vocal train ended with a number of strands simply touchdown on the ‘shadjam’.
Srinidhi Mathur, who was with Ramprasad on the violin, was equally artistic in her raga essays, and had a mature method to chords. Her responses to Ritigowla and Thodi had been properly executed. H.S. on Mridangam. Sudhindra performed to perfection and adorned the live performance together with his soft-structured Tani Avarthanam.
Ramprasad concludes the live performance with Swati Tirunal’s ‘Tharuni Nyan’ in Dhvajavanti with Padam and Kapi with ‘Parulanna Mata’, the favored Jawali of Dharmapuri Subbarayar.
The Chennai-based reviewer writes on classical music.