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Classy, thy name is Abhishek Raghuram
CHENNAI: Abhishek Raghuram was all classy when he gave a concert for the Narada Gana Sabha on December 26, 2014. His rendering of “Alarulu Kuriyaga Adenade” (Sankarabharanam) was inspiring, as he brought the beauty of the lyrics composed on Alarmel Manga of Tirichanoor. This kriti has been popularized by many a senior vidwan such as Nedunuri Krishnamurthy. Abhishek was graceful in his rendering. He was composed, and totally oblivious of the capacity audience around him. He looked a matured artiste. He was brilliant in raga exposition. He excelled both in the construction of sangatis as well as in creative singing. Each of the musical features handled by Abhishek was aesthetic, and his approach to music took one to former times.

It is no surprise that connoisseurs flock to his concerts. A brief alap in Kanada was followed by “Sri Narada” of Thyagaraja. It was indeed an enriching experience, as he mapped the beauty of the rakthi raga Kanada and the lilting lyrics of the kirtana on the divine sage Narada. Abhishek appears to give lot of emphasis to kritis of great composers. Dikshitar’s “Ramanatham Bhajeham”(Kashiramakriya) was given a luxurious treatment with a neraval at “Kumara Guruguha Viditham Kapi Brindadi Sannutham”, sprinkled with a good rhythmic combination and swaraprastaras. Kashiramakriya is somewhat similar to Pantuvarali of the Dikshitar’s school. Pantuvarali alapana was incredible. Elegant fluency and judicious choice of sancharas brought the beauty of the raga out in abundance. Three major ragas - kanada, Pantuvarali and Bhairavi - found place in his concert on this evening. . Abhishek’s handling of all these was masterly and professional. Raga Bhairavi shone like a star on sky as he chiseled effective sancharas in a sequence at every point. Dikshitar’s “Balagopala Palaya” is a monument of a kriti, and dominated his concert that evening. Abhishek unhurriedly presented the kriti, capturing the devotional expression with brilliance. Alliterations and prasas are present in abundance in this composition. The neraval at “Nilanirada Sharira Dhiratara Nirajakara Nirupamanandakara” was attractive with creative swaras.

Violinist Mysore Nagaraj was enthusiastic throughout, and followed the main artiste neatly. Anantha R. Krishnan on Mridangam was meticulous.


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