Vishranti – a sense of relaxation and repose, is rarely a term that comes to mind when thinking of an ‘arangetram’ or debut performance by a young artist. Yet, that was the overarching feeling I retained at the end of Aditya Ravikanth’s Carnatic vocal recital on Aug 3rd 2014 at the Littleton High School auditorium. A contributing factor was perhaps the song selection inspired by renderings of musical compositions popularized by veteran musicians from decades past. Aditya is also under the watchful guidance of Guru Tara Anand, who has herself accompanied many of these veteran artists and whose music has an old world charm and weightiness that is becoming increasingly uncommon.

Aditya commenced his recital with the evergreen Bhairavi Ata Tala varnam ‘Viriboni’ and rendered it with elan in two speeds and a quick Tisram (rhythmic variation in 3-beats) interlude. The Ganesha invocation “Karunai Seivai” by Papanasam Sivan in Hamsadwani came next. The demanding sangatis were sung with clarity and the swaram exchanges between Aditya and violinist Sahana Srinivasan were relaxed yet catchy. The beautiful Ritigowlai composition ‘Janani Ninnu Vina” was sung with a deep feeling for the lyrics. Tarun Bangalore on the mridangam and Dr. Ravi Balasubramaniam on the ghatam enhanced the evocative mood of the melody with their subtle playing. The use of silence and sound at appropriate junctures comes more from instinct than training and it was amazing to see this expert trait in young Tarun.

The Kamavardini alapanai that came next was full-throated and mature, capturing the haunting beauty of that ragam in all three octaves. Sahana’s sweet response was succinct and in a subtly different style that showcased how each of Tara’s students develop an individual style within the gentle framework of grammar and technique. The kriti ‘Ramanatham Bhajeham’ with neraval and kalpanaswarams in two speeds at “Kumara Guruguha Vidhitam’ followed living up to the high expectation created by the alapanai.

A contemporary composition of Vidwan G N Balasubramaniam, ‘Mangala Vara Dayaki’, in lilting Kadanakuthoohalam, complete with an attractive chittaswaram was a brisk offering at this stage – offered like a tasty palate cleanser between heavy courses in a gourmet meal!

Aditya had by now set the stage perfectly for the main kriti of the afternoon. Saint Tyagaraya’s stately “Chakkani Raja Margamu” followed in all its regal yet understated splendor with the alapanai, kriti, neraval, and swarams evoking memories of a bygone era in music. The neraval by both Aditya and Sahana at “Kantiki Sundaramagu Rupame” was expansive and each phrase created the imagery of the beauty of Lord Rama’s form in this listener’s mind. The kalpanaswarams were much more than just a mathematical exercise and showcased the flavor of this ragam throughout with gamakam dominating over laya virtuosity. It was fully evident from Aditya’s delineation of this composition that he has reveled in listening to the old masters. The tani avartanam by Tarun and Shri Ravi at the culmination was a sheer joy to listen to. The initial explorations in chatusram and tisram gaits were particularly memorable with the camaraderie between the young and experienced artists adding much delight to the exchange.
 
‘Sarasamukhi’ in Gauda Malhar breezed in like a whiff of springtime with Aditya’s soaring voice carving the high sangatis with deceptive ease. Tarun’s percussive accompaniment, in sync with each sangati, revealed his ear for musical nuances.

The Ragam-Tanam-Pallavi by itself is no mean exercise for a student to take on, and Aditya chose the intimidating Chatur (four) raga pallavi “Sankarabarananai Azhaithodi Vaa” for exposition at his debut concert. This pallavi is demanding because it requires the musician to delineate four ragas and switch between them constantly without diluting the fidelity of each at any juncture. The alapanai and tanam were delivered with neat sections for each ragam to be explored in unhurried detail. Aditya’s tanam was especially delectable delivered to a soothing sarvalagu percussive accompaniment in three escalating tempos. Sahana’s responses were taut and melodious. The pallavi was grand and masterfully executed. Kudos to the young team for pulling off this feat with confidence!

The ‘tukkada’ pieces of ‘Dikku Theriyaada Kaatil’, Thiruppugazh ‘Aingaranai’, and the vibrant Poorvi Tillana were served with rolling brigas and relish, akin to the eagerly anticipated dessert spread at the end of a festive meal. The concert lingered with this listener long after it came to a resounding finish.

Aditya’s effortlessness and enjoyment clearly stemmed from relentless focus and hundreds of hours of practice. He has all the ingredients vital to succeed as a top musician and I wish him and his young team the very best in their musical journey forward.

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