Prasanna Venkatraman curated an interesting list of songs dedicated to Rama
Prasanna Venkatraman's concert for Rasika Ranjani Sabha and Gaanapriya Foundation featured the Purandaradasa composition 'Rama Nama Payasake' with a pallavi that reads like a divine recipe: 'To the payasam of Rama's name, add the sugar called Krishna, and mix the ghee of Vittala's name — and savour it'.
Taking forward this blend of devotion and music, Prasanna, along with M. Vijay (violin) and Poongulam Subramanian (mridangam), embraced the concert's theme — 'Kritis on Rama by Vaggeyakaras upto Tiruvarur Trinity' — to present a melange of delectable music at R.R. Sabha's Kamakoti Hall.
Not surprisingly, it was Anjaneya who ushered in Rama as Prasanna began with Dikshitar's 'Pavanatmaja' (Nattai-Khanda Chapu), with the kalpanaswaras providing a vibrant start. 'Maakelara vicharamu' in Ravichandrika served as an ideal gateway to Rama's world, with Tyagaraja's sentiment — 'What is there for me to worry about with you around?' — rendered in a serene flow. The swara exchanges at the pallavi opening saw the accompanists respond in perfect synchrony.
Evocative rendition
Prasanna's delineation of Anandabhairavi was evocative and replete with the signature vakra phrases. 'Rama nama payasake' in Rupakam, with its lyrical instruction on how to prepare, serve and partake of devotional nectar, was sung in a manner that reflected its profound joy.
Dikshitar's 'Sriramam ravikulabdhi somam' in Narayanagowla was an apt pick. This kriti encapsulates the Ramayana in a nutshell. Prasanna negotiated the challenging swarakalpana for the delicate raga — bearing the hues of Kedaragowla, Surutti and Kapinarayani — with elan, and Vijay proved equal to the task in his response.
'Emani pogadudhura' in Veeravasantham, in which Tyagaraja wonders aloud, 'How shall I extol you, Srirama?', was rendered with verve, followed by snappy kalpanaswaras. Bhadrachala Ramadasa's 'Emayya rama' in Kamboji-Khanda Chapu brings out the attributes of Rama, and Prasanna's rendition was imbued with the raga's characteristic gamakas and grandeur.
The regal aura of Atana came to the fore in Prasanna's precursor to 'Ela nee dayaraadhu'. The classy composition, which sees Tyagaraja at his descriptive best, was another fitting choice. The cascade of vocatives extolling Rama, the distinctive melodic appeal of the raga, and the exquisite rendition combined to provide an elevating experience.
Good teamwork
The main raga of the evening was Saveri and the composition Tyagaraja's 'Rama Baana', which celebrates the prowess of the divine archery that felled Ravana. Prasanna's alapana unfurled with the raga's natural ebb and flow, offering hints of the kriti in store. Vijay's version mirrored that of the vocalist. After a polished presentation of the kriti, Prasanna took up the sole niraval of the recital at the anupallavi opening 'Bhamakasapadu'. It was extensive and absorbing, and well supported by the team. The tani avartanam by Subramanian was succinct and spirited.
A couple of observations need mention. Niraval is the acme of manodharma, and a concert of this nature has scope for and merits at least two explorations. Moreover, compositions by Annamacharya and Arunachala Kavi would have enriched the canvas further. The latter's 'Rama Nataka Keerthanas' offer a near-complete musical Ramayana. Oothukadu Venkata Kavi, too, has several kritis on Rama to his credit.
The concluding section comprised 'Rama mantrava japiso' in Jonpuri by Purandara Dasar, 'Vaidehi sahitam' a Dhyana sloka for the Ramayana, sung in Sahana, Shanmukhapriya and Manirangu, followed by Dikshitar's coronation kriti 'Mamava pattabhirama', and Tyagaraja's 'Ramachandra nee daya' in Surutti.
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