R. Suryaprakash (Vocal)
Nagai Sriram (Violin)
Tanjore Murugaboopathy (Mridangam)

1-A sloka on Ganesha in raga Begada – Vakra Thunda Maha Kaya,
Followed by Varnam_Intha Chalamu_Begada_Adi. Veenai Kuppaiyer [S]
2-Lavanya Rama_Purnashadja_Rupaka. Thyagaraja
3-Vagishvari_Saraswathi_Adi. Mutthiah Bhagavathar {A, S. Neraval at Neeve Daiva Sakti]
4-Mayamma Yani Ne Pilachite_Ahiri_Adi. Shyama Shastri
5-Sarasa Sama Dhana_Kapinarayani_Adi. Thyagaraja [S]
6-Kana Kan Koti_Kambhoji_Adi. Papanasam Sivan [A, S. Neraval at Manickam Vairam Mudal]
Thani
7-RTP in Darbari Kanada. Pallavi – “Govardhana Giridhara Gopika Manohara”. Talam Khanda Triputa. Swarakalpana [Darbari Kanada, Revathi, Behag, Nattakurinji and Darbar]
8-Eppo Varuvaro_Jonpuri_Adi. Gopalakrishna Bharati
9-Nottu music [Ga ma pa..]. Mutthiah Bhagavathar
10-Magalam [Vande Mataram]

May 5, 2012
The concert was arranged under the CMANA banner at the Bridgewater temple in NJ. As announced by Suryaprakash right in the beginning, this concert was dedicated to the memory of MMI, being the centenary year of MMI. With a great voice range, a smooth delivery, studded with appropriate gamakas, this was one of the most enjoyable afternoon concerts. The varnam was followed by the very softly rendered Lavanya Rama. The well known hallmark of the Mutthiah Bhagavathar school, namely, the kriti in Saraswathi was the next item. Very nicely rendered, reminding seniors like myself of the good old MMI days. Both Mayamma and Sarasa Sama Dhana started at the Anupallavi line, a practice that has not been common in recent concerts here that I attended. Though the Kapinarayani kriti was rendered with the appropriate gusto and the Ahiri with the evocative mood of this raga, I felt he could have sung the Shyama Shastri piece a little slower for better delectation of its nuances. Kambhoji was nicely delved into bringing out its beauty and the Sivan kriti that followed expanded on it.

For me, the high point was the Dabari Kanada RTP. The beauty of the raga was aurally sketched for us with its alliance to two systems of music. With his feet firmly in the Carnatic framework, the flights into Hindustani taans were seamless and impressive. The Pallavi line was a continuation of this hybrid enjoyment of this raga.

Nagai Sriram and Tanjore Murugaboopathy were equally great in their musical support of the main artist.

This concert was to be followed by another the same afternoon and the pressure on time resulting in the abrupt ending of the concert was musically frustrating to a rasika.

Starting at the Anupallavi is often heard in Divyanama Sampradaya bhajans to create the effect is starting on the high note - Kesava madhava govindhethi ... Bruhi mukundedhi ... MDR used to do that often - GirVana nataka alankara veda purana ... for Ksheenamai (Mukari) or Sakshatkara Nija Sadbakthi for Mokshamu (Saramathi)

When concerts are pressed for time, this also helps to reduce the duration of krithi rendition. TVS used to sing Kamini Veshanadha for Rama Neeyeda (Karaharpriya).

Ramaprasad,
In the last concert that I attended of Saketaraman, he started 3 krithis with the anupallavi .Nice of Suryaprakash taking a darbAri for a MMI dedicated concert , the contrast is there and one can always see how sarvalaghu is slowly evolving into more and more rAgas over a period of half century...
Tx for your review , looks like you had a front to back feast of two concerts