TM Krishna presented a vocal recital under the auspices of MIT Heritage of the Arts Society (MITHAS) on April 22 at the Stata Center at MIT. He was accompanied on the violin by  BU Ganesh Prasad and on the  Mridangam: by Vinod Seetharaman

Beginning  with ‘karunimpa’, a soulful varnam in Sahana, Krishna then rendered ‘Enta Nercina’ in Saveri where his control over swara flow was well exhibited.  It was vigorous and majestic.  Ganesh Prasad responded equally well, and sweetly so in keeping with the bhakti bava of the lyrics. ‘Devi Brova Samayamide’ in Chintamani was soaked in bhava .  Krishna’s usage of ‘spurita gamakam’ was apt and pure. The ‘neraval’ full of emotions could not but bring Devi’s attention to his pleading.  Shyama Sastri would have indeed nodded his approval of Krishna’s rendering. It was very refreshing to listen to a slow-paced, endearing composition, giving the audience to meditate and dwell upon the greatness of the composer’s genius.  Vinod’s accompaniment was ‘sukam’ – flexible both in tone and ‘prayogam’.

Krishna paid homage to  Tygaraja in his rendering of   ‘Mummorthulu’ in Atana without deviating in sankatis. When dwelling on raga alapana he showed flashes of originality and giving a glimpse of its ‘thai’ raga.  The ‘Ri-Sa-Da’,, ‘Sa-Da, ‘Pa-Sa-Da in ‘swara prastara’  gave a special effect.  There was no rush in swara prastara – what a great experience for a rasikas!!! Ganesh Prasad was an equal match to Krishna.  He however contained himself, befitting the role of an accompanist..  Vinod’s following the kriti showed his knowledge of the composition.  Mamavaraguvira’ in Mahuri, a composition by Dikshitar in Mishra Eekam seemed to have been chosen as a brisk prelude to Atana.

As befits a great artist, the very first note revealed ‘Mukhari’ in all its splendour. Krishna brought out its original folklore essence.  His expert handling of the raga in all the 3 octaves added delight to the listener.  Ganesh Prasad sang on his violin during raga rendering. Vadasi Yadi (Gita Govindam) brought memories of the Gitagovindam ballet that the rasika had watched last year. One could not but help tap the foot to the melodious, mellifluous, and mellowed rendering. The ‘Neraval ‘mama  shirasi mandanam
dehi pada-pallavam’ was contemplative and soul-searching, doing full justice to the phrase chosen.. ‘Tani’ by Vinod was creative, clear, and ‘’pramadam’.   Presenting complex algorithms not losing melody is not an  easy task.  Vinod has great future.  To be noted this is not his sole profession.

‘Ma Ramana in Hindolam’ – what a gusto – like a waterfall making musical notes as maiden water trots from one note to the other.  Start to finish Begada (Nadopasana) was striding  in all its majesty and splendor, a special treat from  Krishna, Ganesh Prasad and Vinod. Intermittently yet powerfully they were paying homage to mother Sankarabharanam in all 3 octaves without losing melody. It was indeed an atma ‘Nadopasana’. Depicting different shades of ‘Ma’ was clever .  Begada’s own ‘Ma’ could have been highlighted more.

Ahiri-Lalitha-Varali  RTP – Vow! Krishna made it look so easy – ‘enna lavagam’ in transition between them and not losing the connectivity!!!!  Lalitha’s sringaram, Varali’s pathos, and Ahiri’s atma dyanam  - nector poured out in a heavenly celestial environment. It was Varali who took under her umbrage her twin sisters Lalitha and Ahiri. One could almost hear horses trotting –(‘tano ta, nom taka’), thundering rain (‘taka ta nom ta’) and elephant striding majestically (‘taka, taka’).  During Ganesh Prasad’s handling of Lalitha following Ahriri, and both rushing to meet Varali  - one was in trance and in a ‘dyanam’ mode. Set to tisra jadi ada talam, whatever be the ‘gati’, the three ragas  synchronized conveying to us mortals that beyond caste, creed, culture we all could be different yet in unison. Once again Krishna excelled in his swara prastaram with his combined intellectual and spiritual approach.

Then came majestic queen Bhairavi to join them.  Of course ‘Sankarabharanam’ and ‘suruti’ could not but eagerly glide along with them. One did notice a slip of a note –like ‘drshti’ thus giving a human touch to this celestial performance.

The superb trio took us through the joyous ride with 3 more compositions - Jaanaro I Mohamu – Kamas Javali , Mohanamayi - Yadhukula Kambhoji - Swati Tirunal and Jaya Jaya Sankara – Dharbari Kanada  Al l in all it was a soulful, intellectual, and ataman journey, giving us so much to dwell upon and contemplate over as we sojourned towards our homes.

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