|Bharat Narayan showcased a great grip over laya|
Bharath Narayan began his recital for Mudhra with the Kamboji Ata tala varnam ‘Sarasijanabha’. He showcased a great grip over laya when he navigated the chiselled charanam and chittaswarams of this piece. This was adopted by C.S. Krishnaswamy Ayya’s ‘Namami vighna vinayaka’ in Hamsadhwani. The exchanges between Bharath and R. Raghul (violin) have been sharp and agency when quick swaras have been sung at ‘Kumara sodara’. The sub-main that Bharath selected was Tyagaraja’s ‘Paraloka sadhaname’ in Purvikalyani. The raga alapana was creatively constructed by minimising sure oft-heard phrases. The niraval and kalpanaswaras at ‘Tanayadi baandhavula’ have been brisk. Raghul was capable of match Bharath’s speedy brigas by executing the swaras with precision.
‘Paridanamichite’ in Bilahari was sung as a filler earlier than continuing to the primary piece in Thodi. At this level, becoming in a chowka kala kriti as a substitute of a medium-paced one may have added some selection to the efficiency.
A reasonably exhaustive delineation of Thodi was introduced by Bharath — the rishabam to daivatam part of the madhya sthayi was explored intimately. Long-drawn phrases in Thodi have been dealt with effectively by Raghul in the course of the alapana. The fundamental kriti of the night was ‘Gati neevani’ from Tyagaraja’s Lalgudi Pancharatnam. It was an acceptable option to display the musician’s potential.
Throughout the recital, a advantageous steadiness was struck between the important phrases and the ingenious features when exploring the manodharma. Kishore Ramesh on the mridangam and Kottayam Rohith Prasad on the ghatam complemented the opposite artistes admirably in the course of the kalpanaswara sections.