A talent of a good singer is judged when he captivates the audience with his magical voice and imaginative presentation of a variety of appealing ragas. The audience glued to their seat show their awe and admiration by acknowledging the singer and accompanist with loud cheer and applause. Ramakrishnan Murthy’s concert on Tuesday for Trinity Arts Festival at RR Sabha delighted both the music lovers and music fraternity in Mylai. Ramakrishnan Murthy is a young seasoned and creative musician who is popular and one among the top in the field of Carnatic music. Singing for about two hours, he planned the concert in a very appealing manner keeping the birth day of MahakaviBharathiar in mind.
Murthy commenced his concert by presenting a garland of ragas in Navaragamalika Varnam. There was a pleasant aroma of Carnatic ragas that traversed throughout the auditorium and all were ready to taste the treat to come. Only the aroma from the AC duct was out of tune.
Murthy dealt gracefully the raga Hari Kaambhoji, one of the oldest ragas sung by ancient Tamils in Mullaipann. Murthy chose Thyagaraja’s Kriti Enta Rani with a devotional touch (Oh! Lord Rama come what may, whatever come to me or may go, I shall never leave your closeness). He fine-tuned the melodic contours of the raga ineradicably in our minds. It was a pious and powerful presentation, full of bhava.
To give a respectful homage to Mahakavi Bharathi, Murthy dwelt briefly and briskly on the finest appealing ragas of Abheri, Behag, and Kanada and sang “SuttumVizhiSudarthankannamma” in raga Malika. Audience felt their heart beat miss when they recalled the high visionary poet. Murthy almost recalled Bharathi to the stage from heaven with his nice delivery.
‘Mylai is kailai’ goes the saying. Murthy recalled Kapali (Shiva) the protecting God of Mylai village with Papanasam Sivan’s composition in vibrant Thodi. “Kadaikkannokkikaavaatadu“inTodi if presented well gives pep to the concerts. It is sung by all musicians in concerts. But the beauty of the raga is directly related to the imagination of the singer. Murthy presented the raga in a typical traditional manner and dazzled the audience. He did an appreciable job and got a spontaneous ovation from the audience.
Murthy then went on to present the sweet dawn raga Ramkali, a Hindustani classic raga toMuthusamyDikshitar’s Composition Kalusha. Knowing the raga requires subtle and mild, yet appealing handling. Murthy like the sun rising in slow motion, gave aslow pitch that bewitchingly captivated the music lovers. This was the best of the concert and somewhat reminded me of Pandit Bhimsen Joshi’s approach to Ramkali.
Murthi’s fine finale touch was Vandemataram. The AmbikavathiVirtham in Kambhodi, Kalyani, ranjani, and HindustaniBegag pleasantly gave brightness to the concert. Murthy demonstrated wellthat beautiful and brief nuances of a variety of ragas can be sung. He concluded the lively concert with Jaya Jaya in a nice blend of ragas.
Murthy had the vibrant support of Charumathi Raghuram on Violin. She was smart enough to give her best and at the sametime cautiously ensured her presentation brought to light the niceties of the ragas.
Salgiridar on mirudangam was at his best. Murthi gave chance to the tani avartanam at the initial stage itself so that the audience can enjoy the beats from the best talent. Somehow for no sane reason the audience generally leave when the mirudangamVidwan starts taniavartinam. The objective of giving a chance to tani avartinam is to make the audience hear the instrument and realise how it helps to enhance the quality of the concert.
In a nutshell, the concert was so astounding that everyone left the auditorium with immense joy of listening to one of the best classical singers.