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LEMONT, Ill.
Popular Carnatic and national award winning playback singer Unnikrishnan entranced a packed hall at a concert hosted here by and at Hindu Temple of Greater Chicago, May 9. He was accompanied by violinist B. Raghavendra Rao, percussionists Thiruvarur Vaidyanathan on mridangam and Guruprasad on ghatam. Organized by Sivaraman Sivasubramanian and the HTGC Rudra Committee, the concert was the third event held to raise funds for the “Maharudram and Navachandi Mahayagnam” June 12 through14.
Unnikrishnan began with a brisk set composition (varnam) “Sarasija-naabha Maam Paahi” in ragam Nattai followed by Thayagaraja’s “Siva Siva Enaraada,” in Pantuvaraali, replete with preliminary exploration of raga (alapanam), niraval and sol-fa (swara) improvisation, with studied repartees from violinist Rao. Niraval is extempore elaboration and improvisation of swaras for a particular line in the composition (krithi), within the framework of the rhythmic cycle, bringing out the nuances of feeling within the raga effectively. “This krithi, not to mention the entire event, was an appropriate curtain raiser for the main Rudra fire-sacrifice,” connoisseur and well-known local veena-player Saraswathi Ranganathan told Desi Talk.
The sudden transition to Maayaa-maalava-gowla, close to Pantuvaraali yet farther apart in its raga-structure, came as a surprise. “Unnikrishnan brought out the varied moods of these two ragas skillfully with enchanting meandering raga phrases at the very start of the alapanam,” said Ranganathan. “Bantureeti Kolu” in ragam Hamsa-naadam was delivered with a fast yet uplifting niraval for the phrase “Rama nama maney.” A most soulful alapanam in Saara-mati followed for “Mokshamu Galada” also by Thyagaraja. “The soft sanchaaras (characteristic melodic phrases) around the notes daivatham and nishaadam, doubled notes (janti prayogam, as in ‘dha dha pa’), sudden glides between octaves transported the listener to another dimension,” she added.
Composed by the late Dr. S Ramanathan, the ecstatic “Sabesan Sevadi” in ragam Saaveri oozed with compassion. “The swara improvisations had an upbeat quality, with delightful embellishing korvais (rhythmic patterns) on mridangam and ghatam.” After a short “Karpaga Manohara” in Malaya-marutham, Thodi ragam was expanded in detail for “Karthikeya Gangeya Gowri Thanaya.” “The lightning fast traversals of all three octaves (tri-sthaayi-sanchaara) were breathtaking.” Many audience favorites later, Unnikrishnan concluded with Annamacharya’s “Thandanana” and a Shiva bhajan.
The program began with a Vedic chant and brief welcome of the musicians by Dr. Muthuswamy, who with his wife were chief guests. Anand Dance Academy director Dr. Sangita Rangala was master of ceremonies. Unnikrishnan was honored by Reddy, his accompanists by Lakshman Agadi. Organizer Sivasubramanian was also honored by Reddy for his dedication.
Rudra Committee is led by Agadi as chair, with Reddy, Dr. Vijaya Sarma and Gopalkrishnan as co-chairs and Subramanian Sundaram as Finance Committee chair. Maharudram is expected to draw about 10,000 devotees, with Vedic chanting by close to 300 priests, from across the country. Another highlight will be the recital of Lalita Sahasranamam by 1500 women, and the presence of around 30 notable religious heads from all over the world.
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