Sikkil Gurucharan rendering carnatic vocal at Karthik Effective Arts in Chennai 2022.
| Photograph Credit score: RAGHUNATHAN S.R.
Sensible selection of ragas and kritis, cautious distribution of time, holding the raga treatises and swarakalpana underneath management and avoiding over indulgence — all these contribute to the success of a live performance. Sikkil C. Gurucharan appears to have understood these facets whereas framing his live performance at Kartik Effective Arts.
Two ragas, Lalitha and Shanmukhapriya, had been chosen for detailed research, with catchy and attention-grabbing fillers included on the proper intersections.
Together with his vocal cords in tremendous type, Gurucharan opened the efficiency with the ghana raga Adi tala varnam, ‘Chalamela jesevura’ by Vinjamoori Varadaraja Iyengar. The swaras and sahityam had been fantastically intertwined, beginning with Nattai, adopted by Gowla, Arabhi, and Varali. Tyagaraja’s ‘Chalamelara’ in Marga Hindolam, with just a few rounds of attention-grabbing swara strings, got here subsequent.
Gurucharan offered a vibrant portrait of raga Lalitha, with phrases and brigas in full measure. The raga’s splendour could possibly be additional felt in his rendition of Syama Sastri’s ‘Nannu brovu lalitha’. The partaking swarakalpana section was set on ‘Sumeru madya’, and it was rounded off with madhyama-centric notes.
Sikkil Gurucharan with L. Ramakrishnan on the violin, Delhi Sairam on the mridangam and B.S. Purushotham on the kanjira throughout his live performance at Karthik Effective Arts music pageant 2022, held in
| Photograph Credit score:
RAGHUNATHAN S.R.
A shock addition of Bharathidasan’s ‘Vennilavum vaanum pola’ in raga Jayanthasena, set to music by M.M. Dandapani Desikar, was a neat rendition (this was featured within the 1950 movie Kalyanam Panniyum Brahmachari , and was sung by Radha-Jayalakshmi).
The central attraction was Shanmukhapriya, which was executed in nice element. The innately stunning raga permits a smart musician to improvise with quite a lot of permutation and mixture of phrases to discover the melody. Together with his ingenuity, Gurucharan traversed each section in his alapana, and delved deep into Shanmukhapriya. To match the grandeur of the alapana, he chosen ‘Ekamresa nayakim’ by Muthuswami Dikshitar. Gurucharan’s exhaustive niraval and swaras had been set on ‘Kanchi nagara nivasinim’. Torrents of swaras, centred on nishadam, flowed impressively.
The finale featured ‘Karthikeyanai kannara’ in Kapi by Mayuram Viswanatha Sastri, and a thillana in Dwijavanti by Thanjavur Kalyanaraman.
Wonderful staff work elevates the success of a live performance. L. Ramakrishnan’s clever and progressive responses within the Lalitha and Shanmukhapriya raga essays and swara sallies drew as a lot appreciation and applause because the vocalist’s renditions. Delhi Sairam on the mridangam and B.S. Purushotham on the kanjira added additional shine to the present, with their interestingly-designed, energetic rhythmic patterns.
