An instinct for finer aesthetics

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Kunnakudi Balamuralikrishna File PhotoAfter a sabbatical, during which he was sorely missed by discerning rasikas, young vocalist Kunnakudi Balamuralikrishna is back with a bang. Voice in fine fettle, sailing effortlessly through multiple octaves, with an approach that combines pace with an unerring instinct for finer aesthetics, guaranteed to keep listeners glued to their seats from start to finish.

A high-spirited verve radiated from the interpretations of the varnam ‘Evaribodha’ (Abhogi) and two kritis ‘Sivalokha Nadhanai’ (Mayamalavagowla, Gopalakrishna Bharati) and ‘Kanna Thandri Napai’ (Devamanohari, Tyagaraja) replete with expansive flourishes. With the artist going out on a limb to showcase variety and contrast, the vibrant kalpanaswaras for the two kritis were anything but standard issue. Balamuralikrishna’s sketch of Devamanohari zoomed in on high-risk hairpin-bend ravai phrases that stayed firmly on course, steered by admirable equipoise and conviction.

Thus far, the pace was decidedly brisk, carried forward in the Bilahari alapana, positioned as the central piece. The mosaic was just beginning to get a tad busy, when the much-needed vistara came in the tara sthayi. Long, leisurely karvais unfurled at the shadja, rishabha and gandhara, while quicksilver brigas flashed in counterpoint to madhyama kala loops. There was beauty here, that moved, and power, wisely wielded. Thinking musician that he is, Balamuralikrishna unveiled fleeting glimpses of Yamunakalyani that segued into the Bilahari landscape. ‘Smara Sada Manasa’ (Swati Tirunal) settled into a comfortable madhyama kala niche that allowed for complete focus on sahitya bhava. The niraval was proof of virtuosity as voice swooped, soared and spun dizzying circles before cruising serenely into swarakalpana.

Vocalists are invariably drawn to the charm of prati madhyama ragas when it comes to the RTP. Balamuralikrishna’s choice was Simhendramadhyamam. Striking imagery abounded in the compact raga essay that saw the artist pushing the envelope to come up trumps in the intention-execution continuum. The dynamic tanam built up a tautness that stretched, swelled and erupted in a cloudburst of promise, amply fulfilled in the pallavi ‘Arul Seiyya Vendum Ayya’, set to tisra jati Rupaka tala in misra nadai (35 sub units). With anuloma and viloma including chatusra tisram that were spot on, the lovely Shuddha Sarang and Chandrakauns ragamalika vignettes were pure icing on the cake.

Delhi Sundararajan matched the vocalist phrase for phrase during his kalpanaswara and raga responses, particularly in Mayamalavagowla and Bilahari. The happy synergy of percussionists Shree Sundar Kumar (mridangam) and Chandrasekara Sharma (ghatam) contributed to a rousing thani in which the myriad hues of vallinam-mellinam kaleidoscoped.

Backed by the kind of assurance that can only result from insight and unrelenting hard work, Balamuralikrishna’s recital made a significant point — that melody need not be a sacrificed at the altar of laya virtuosity.