Suhas Rao (Student of Geetha Murali) Vocal

Vinay Violin

Mali - Mridangam

Under the auspices of HK Concert Series  

Suhas started with 'Karuninmpa' in Sahana. Alapana was rendered with confidence and was aptly sweet and short.  With 'Sahana' one has a lot of scope for bhava.  Swaras seem to fall flat at times, for example 'Ni SA RI SA Ni DA Ni ').  However, Suhas was warming up with this beginning varnam and taking that into account i would say it was well rendered. Gajavadana in Sriranjani followed - apt speed, melodious sankatis.  What diction and pronunciation.  Sankatis were innovative.  Apt bhava in 'Nee Ye moovilgirku adharam'.  Superb rendering Suhas!!!  Swaraprastaram was confident, majestic, and, 'kanakku' did not compromise (most of the time) melody.  Vinay's accompaniment was pleasant and imaginative true to his prowess.

Dharmavathi alapana and kriti rendering indeed showed maturity and professionalism.  The pathos of Dharmavathi was well brought out in rendering and during the niraval ‘paramjothi vikasini’. Mali's accompaniment with tisra nadai' was so soothing yet energetic.  The niraval in 'Paramjyoti Vikasini' - what a beautiful, soulful conversation between Suhas and Vinay with Mali keeping a comforting tempo?  Vinay as a seasoned accompanist and as a true artist let the upcoming young musician Suhas to take the leadand as one would say 'adakki vasichar'. Smooth glide to swaraprastara by Suhas - in spite of applying kanakku,  it was not like a technical exercise. This particular line lends itself to melody, kanakku, and provides a great scope for improvisation.  Suhas's highlighting the 'MA' revealed his knowledge of the ragam.  His slow but rhythmic kanakku in swaraprastara was very pleasing and delightful.  I keep noting this again and again to bring forth the possible beautiful combination of kanakku and melody, if only one pays attention to it.  Both Suhas and Vinay excelled in this. TRS would have uttered 'BHESH, BHESH, SABASH'!   

After a brisk piece (samayamidhe nannu bhrova') Suhas began the alapana in Abheri.  I liked the way he revealed the raga with his beginning note(s). This approach was much recommended by stalwarts like Semmangudi Srinivasa Iyer. Suhas covered all aspects of the raga and across all the octaves.  Flashes of 'nagumomo' in the alapana was quite clever.  Vinay's alapana was great and very supportive.  The pleading, cajoling mood was well brought out.  He led the audience to the right kriti (Bhajare Manasa)- endearingly humerous. It was a perfect presentation of kriti in terms of bhava, melody, diction, inflection, and pronunciation.  Suhas seems to excel in doing 'tisra' akaram.   

After yet another brisk piece 'Bantu reethi kolu', Suhas's dared attempt with Todi never failed him nor the audience.  A couple of days ago i was googling and hit upon a site on 'Shades of Todi'. As though to prove it, Suhas brought a shade of sindu bhairavi (singing flat ga?)  and hindolam during his alapana.  Vinay of course rendered traditional thodi without any kalappu and the depth and lavagam was well revealed. . Raga pravagam is an apt way to describe Suhas's alapana.  Felt flashes of Sanjay's style.  Suhas maintained his perfect diction and pronunciation.  'Midukku', /Bhavam', 'Kuzaivu' - facets of all these were demonstrated.  Niraval in 'Kamakshi, kancchadalayadakshi'' -Giving out thodi's essence was a feast to the listener’s ears.

Suhas concluded with a soulful rendering of 'jagado', He concluded the concert with a heart-wrenching piece on tirupathi venkatesa and a gently brisk thillana .  All in all Suhas made his guru Geetha Murali and his parents proud.  One saw how dedication, avid interest, perseverance, reverence to the music/Guru, and in-born talent can take the artist to great heights.  Wit a little more focus on keeping the pitch and interaction with audience it is not far before we see Suhas performing during 'kutcheri season' in Madras.  Wish him the very best.

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