------------------------------- By Deepa Iyer S
On the evening of December 13, 2024, Raga Sudha Hall in Chennai witnessed an unforgettable musical offering as part of Naada Inbam’s Sri T.A. Narayanan Memorial Concert Series. From 4 pm to 6 pm, the young and talented Pranathi Ganapuram, a disciple of Smt. Shyamala Venkateswaran, presented a thoughtfully curated concert. She was accompanied by Haritha Narayanan on the violin and Mathur Krishna Kumar on the mridangam, whose sensitive and skillful accompaniment enriched the overall performance.
The concert began with the varnam Sarasakshiro in Natakurinji, a rare gem in Misra Capu tala, composed by Ponniah Pillai. It set the tone for the evening, immediately capturing the audience’s attention with its unusual rhythmic choice. The progression of the repertoire demonstrated a careful blend of classical rigour and creative exploration. From Re re manasa in Nata to Sadacaleswaram in Bhupalam, the pieces unfolded seamlessly, each one leaving its own indelible mark.
One of the standout aspects of the evening was Pranathi’s focus on rare compositions, an admirable effort to highlight lesser-heard compositions. Her rendition of Evaru Manaku in Devagandhari, a composition from Tyagaraja’s Nauka Caritam, was especially striking. With a clean and powerful delivery, she brought out the poignant essence of the raga.
For the sub-main piece, Mamava Minakshi in Varali, Pranathi chose the phrase “Shyame shankari digvijaya pratapini” for her niraval. Her main piece, Ika Nannu in Bhairavi, was another highlight of the evening. The niraval on the anupallavi, “Agadu seyuta niku nyayama rama”, was delivered with both technical precision and emotional depth, showcasing her ability to bring a balance of intellect and bhava to her performance.
The technical prowess of the vocalist was evident in pieces like Ni Padamule Gatiyani in Navarasakannada, a challenging composition with intricate chitta svaras arranged in syncopation. Pranathi handled it with impressive ease, demonstrating her command over rhythm and melody.
The concert concluded with Tedi Alaigiraye of Gopalakrishna Bharati in Nadanamakriya followed by Paravaikku Ettanai in Senjuruti, a Tiruppugazh set to tune by Sri Rama Iyer. The melody, bearing a striking resemblance to the style of a cindu, brought a sense of familiarity and joy to the audience. Was this arrangement by the composer intentional, given that both thiruppugazh and kavadi cindu are in praise of Lord Murugan? Regardless, it undeniably gave the rasikas the experience of listening to both forms in harmony.
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Pranathi Ganapuram’s performance stood out not only for its repertoire but also for the care with which it was executed. Her ability to present both the familiar and the rare with equal confidence and artistry left the audience deeply satisfied.
