Concert reviews/ Arati Ankalikar-Tikekar & Suhas Yyas

BY NARENDRA KUSNUR 

Arati Ankalikar-Tikekar/ Ghana Garaje

Genre; Hindustani vocal

Details: Experimental Theatre, July 11

Rating: ****

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Suhas Vyas/ Morning Ragas

Genre: Hindustani vocal

DetaIls: Ravindra Natya Mandir, July 12

Rating: *** 1/2

The weekend provided a double treat for followers of Hindustani classical vocal music. More than anything, they got to hear rare compositions, rather than the fare one often hears at such gatherings.

On Saturday, July 11 evening, vocalist Arati Ankalikar-Tikekar excelled at the Ghana Garaje programme of monsoon melodies organised by the National Centre for the Performing Arts at the Experimental Theatre. Then, in a new series initiated by Grace Foundation and curated by Pancham Nishad, Suhas Vyas presented a rare bouquet of morning ragas at the Ravindra Natya Mandir on Sunday, July 12.

Ankalikar began with the popular Miyan Ki Malhar. While that didn't seem like an uncommon choice, what was impressive was it it lasted a good 70 minutes, longer than the regular performances these days. Another highlight was the drut portion "Naad Brahma Parmeshwar Jin Paayo Hai Vardhaan", which was set to a taal mala (ek taal, aadha chautaal and jhaptaal) rather than a single taal. 

Having trained under Vasantrao Kulkarni, Kishori Amonkar and Dinkar Kaikini, Ankalikar's gayaki blends elements of the Gwalior, Agra and Jaipur-Atrauli gharanas. There's clear evidence of rigorous taiyyari, and a remarkabke control over taans. At times, she was backed by her three disciples, giving a chorus-like effect on the lighter numbers.

Tabla player Yati Bhagwat, harmonium exponent Abhinay Ravande and pakhawaj vaadak Ganesh Sawant provided able support, as Ankalikar continued her recital with rare compositions in Anand Malhar and Sur Malhar. Her 'Ghir Ghir Aaye Badariya Kaari', used in the film Sardari Begum, drew huge applause, and the.jhoola 'Aao Sab Sakhiyan Jhoolan Banao' and kajri 'Jhir Jhir Barse' showed her finesse over the light classical forms. The finale came in the form of a two-part Bhairavi, with the tappa showing excellent command over swaras and the tarana bols providing a perfect climax.

The show had been marked 'sold out' almost a week earlier but one saw some 10 or 12 empty seats. Maybe people just booked and didn't turn up, or maybe they were special invitees with other commitments. Whatever, they deprived more deserving connoisseurs.

In contrast to Ankalikar's show, the Sunday morning concert at Ravindra Natya Mandir had many empty seats. Being a Sunday 10 am show, that was surprising as one often finds larger attendance at the early morning series Pratahswar.

Suhas Vyas was, of course, in good form presenting rare ragas like Ahiri-Lalit, Dugam Hindol and Varati Todi. Most compositions were from the repertoire of his father and guru Pt C.R. Vyas, and as such, true aficionados found many rare gems.

The vocalist, who also sang Dev Gandhar, was accompanied by the accomplished Vishwanath Shirodkar on tabla and Sudhanshu Gharpure on harmonium. One looks forward to the next few editions of the series, as it covers a time beginning in the mid-morning and moving to the afternoon Sarang raga hour. 

All in all, this was a rewarding weekend.