Introduction
Carnatic vocalist Sikkil Gurucharan recently delivered a performance that underscored the importance of adaptability and audience awareness in the world of classical music. Despite a sluggish start during his concert, Gurucharan’s improvisational skill and musical acumen later captivated the audience, particularly with his rendition of the main piece in Kalyani and the sophisticated RTP (Ragam Tanam Pallavi).
Initial Challenges
The initial phase of a Carnatic concert is crucial in setting the tone for what’s to follow. It is during these early moments that an artist gets the measure of their form and the ambiance of the venue, which in turn greatly affects the overall impact of the concert.
Gurucharan’s opening was less impressive than usual. The concert began with ‘Sarasija nabha’ in Mayamalava Gowlai, followed by ‘Sanatana Paramapavana’ in Phalamanjari. While both pieces are masterpieces on their own, they failed to create a stir amongst the audience – possibly due to the selection or execution, or perhaps an incongruence with the audience’s expectations. This flat impact stretched further when ‘Dayajuda manchi’ in Misra Chapu, though aesthetically rich, failed to sparkle as intended.
A Stuttering Momentum
‘Sri Varalakshmi’ in Sri, composed by Dikshitar, constituted what one might consider a maiden over for Gurucharan, as it did little to rouse enthusiasm amongst the attendees. It became apparent that the sudha madhyama was over-extended and without variation, causing a lull in the performance energy. Moreover, the artist’s choice to maintain a mid-range pitch throughout the initial segment did not provide the necessary variety to engage the listeners fully.
Mid-Concert Revival
It was not until later, during the Kalyani alapana, that the atmosphere began to change. Here, Gurucharan showcased the depths of his talent, delivering a multi-dimensional alapana that punctuated the raga’s landscape with soul-touching phrases. His violin counterpart, Sanjeev, equally matched this creative surge, lending his instrument to a manodharma that was both supportive and explorative.
The revival of the concert’s energy continued as Gurucharan strategically occupied his allotted time to ensure that the later, more elaborate pieces received their due share of the spotlight. Tyagaraja’s ‘Karu velpu nilku’, though a rarity in modern performances, shone under Gurucharan’s treatment, engaging the audience with skillful niraval and swara passages.
Climactic Brilliance
As Gurucharan approached the pinnacle of his performance, his aesthetic prowess was unmistakable. The raga Sriranjani flowed effortlessly, unveiling more of the singer’s finesse. Paired with the violinist’s emotive resonance, the thanam and pallavi segments unfolded with grandeur, even as they meandered through predictable patterns.
Umayalpuram Sivaraman, an acknowledged master percussionist, played conservatively until the latter portions of the concert when he unleashed a tour de force display alongside Karthick on the ghatam. Their tani avartanam was a study in brevity and brilliance, challenging and wowing the audience with its complex rhythmical interplay encapsulated in just about ten minutes.
Concluding Reflections
As the concert approached its finale, ‘Swara sundaranguni’ in the raga Paras added to the tapestry of melodies that had been so richly woven throughout the evening. Demonstrating wisdom, musicality, and a keen sense of timing, Gurucharan proved his ability to not only recognize the need for strategic adjustments but also impeccably execute them.
In the critique of this performance, Gurucharan stands out as a musician with a deft understanding of the ebb and flow of concert dynamics. His initial underwhelming start transformed into a well-paced crescendo of classical mastery. This concert, like many in the tradition of Carnatic music, emphasized the concept of power play within the realm of performance, where context and situational awareness can shape the success of the musical encounter. It is clear that Gurucharan is a smart musician, and he will undoubtedly take the lessons from this concert to refine his future recitals.
