Cherthala Ranganatha Sharma maintained a sublime mood at his recent concert in Ernakulam.
Carnatic music concerts often happen at brightly lit stages, but the recent performance by Dr Cherthala K N Ranganatha Sharma at Avanamkode Saraswathi Devi Temple, near Cochin International Airport in Ernakulam district, offered a distinct experience. This concert, the second in a series organised by the Kerala chapter of the Chennai-based Neelakanda Sivan Cultural Academy, stood out for its thoughtful setting. The stage, lit only by traditional Kerala lamps (nilavilakkus), created a meditative atmosphere that perfectly complemented Ranganatha Sharma’s sonorous voice.
The two-hour performance showcased Ranganatha Sharma’s mastery of Carnatic music. His commanding stage presence, thoughtful song selection, and deep alapanas captivated the audience. His renditions of kritis were marked by strict adherence to Carnatic grammar, clear diction, and precise control over tala and laya.
The concert began with a rare Adi tala varnam by Lalgudi Jayaraman in Sama raga, followed by the well-known Thyagaraja composition Sriganapatini in Sourashtra. A lively piece, “Saraswati namostuthe” in raga Saraswati, composed by G.N. Balasubramanian, featured impressive fast-tempo swaras. The exploration of Subhapantuvarali was particularly moving, with a gradual ascent to shadjam and vibrant sancharas across octaves revealing the raga’s full bhava. Thyagaraja’s composition Ennalu Urage, with splendid niraval and swaraprastharas, suited the meditative environment.
Neelakanda Siva compositions
Neelakanda Sivan’s famous composition in Mukhari, “Enrukku Shiva Kripai,” was soothing, enhanced by the skilled accompaniments. The concert’s centerpiece was Shankarabharanam, where his focus on bhava brought out the raga’s essence. The selection of Swati Tirunal’s Navaratri composition Devi Jagajanani was apt for the venue considering its historical significance. It is believed that Vedic scholar Adi Sankaracharya was initiated into the world of learning at this temple. During the swaraprasthara, Ranganatha Sharma’s improvisations received commendable applause from the audience.
The bhajan Bhavayami Gopala Balam in Yamunakalyani by Annamacharya beautifully blended aesthetics and melody. The concert concluded with another Neelakanda Sivan composition, Teruvadeppo Nenje in Kamas.
Violinist Sunitha Harishankar displayed remarkable skill, faithfully echoing the vocalist’s phrases and enhancing the overall performance. Mridangam artist Palakkad Harinarayanan’s soft touches during accompaniment and energetic tani avartanam added depth and vibrancy to the concert. The concert left audience wanting for more.
