Rama Ravi (Vocal)
Nandita Ravi (Vocal support)
L. Ramakrishnan (Violin)
Akshay Anantapadmanabhan (Mridangam)
1 Intha Modi Seya_Saranga_Adi. Tiruvettiyur Thyagaiyer
2 Vidulaku Mrokkeda_Mayamalawagowla_Adi. Thyagaraja
3 Chidambara Nataraja_Kedara_Adi. Dikshitar [S]
4 Dari Daapu Leka_Saveri_Deshadi. Thyagaraja
Neraval at Valachi Padamula [Short A, S]
5 Ekkalattilum Maravene_Natakuranji_Rupaka. Ramaswami Sivan
6. Dalachinavaru_Dhanyasi_Adi. Subbaraya Shastri [A]
7 Palaya Mam Parvatisha_Kannada_Rupaka. Dikshitar
8 Ekambharanatham Bhajeham_Gamakakriya_Adi. Dikshitar [A, S]
Neraval at Panchakshra Manthrarupam. Thani
Mini lec-dem on Padams and Javalis and the Dhanammal style of singing
9. Ososi (p)_Mukhari_Chapu. Muthu Natesan
10 Meragadu (j)_Athana_Adi. Pattabhiramayya or Chinniah
11 Smara Sundaranguni (j)_Paras_Madhyadi. Dharmapuri Subbaraya Iyer
12 Valapu Dacccha (p)_Varali_Chapu. Kshetragna
13 Vani Pondu (j)_Kanada_Rupaka. Dharmapuri Subbaraya Iyer
14 Karpagame_Madhyamavathi_Adi. Papanasam Sivan
April 21, 2012
This concert took place about ten days ago in NJ at the Chinmaya Mission, arranged by one of Vidhushi Rama Ravi’s students. Even though it has been delayed, I felt strongly that this concert has to be brought to the attention of the rasikas in this forum. I will be brief. From a rasika’s point of view, one could not have asked for a more musically elevating concert. With the added led-dem, this was sweet candy in the mouth, slowly spreading its sweetness. It is sad that larger organizations with access to a better membership list did not take the initiative to arrange this concert by what I would call a musician’s musician.
The kriti list alone is enough to convince the heard-it-all skeptic that this was a special treat. As you listened rapturously to Rama Ravi’s singing, you knew right away that, just like the iceberg, there was a lot more of it than met the ears. Each kriti was rendered with an authenticity and a deeply nourished melodic touch that it was a privilege to be in the audience. The many years of mother-daughter collaboration contributed to a robust vocal aura. Nandita, in her solo singing, reminded us that she is a competent vocalist in her own right.
After the thani, the lec-dem on Padams and Javalis and a brief sketching of the Dhanammal school of singing was a rare educational experience. The vilamba kala approach to music, the rendering of gamakas, the jaarus, etc were covered with illustrative singing. What a treat!! In comparing Padams and Javalis, mention was made that javalis take liberties with grammar. Subbaraya Iyer has introduced Pratimadhyamam in the javali ‘Smarasundaranguni’, for its beautiful aural effect, even though Paras is a janya of Mayamalawagowla. She demonstrated it. And all those that have learnt this piece under the Dhanammal banner have been asked not to change it! I hope I have correctly summarized the lec-dem.
After the lec-dem, it poured padams and javalis. Pardon me if I sound a little coarse, but I can only describe my feeling by comparing it to biting into a ripe alphonso in summer. You know the juice (“melody”) is flowing down your fingers and face, but, Oh what sweetness, what (musical) sweetness!
Both Ramakrishnan (trained under A. Kanyakumari) and Akshay (tutelage under various gurus including T. H. Subhash Chandran) did a fine job as accompanists.