Author: Narayana Vishwanath; Photo Courtesy:

Vocalist Unnikrishnan’s performance, would always reveal his penchant for a balanced performance making listening a pleasure.

What one admires in his concert is the obvious and uninhibited relish, with which, he presents the music, succeeding well, in creating a feeling of ‘sumptuousness’ to listeners. The moot question arises, whether this is attributable to his voice.

Trained to sing in a style, by maestro S. Ramanathan, satisfying the lovers of music with his voice, vocalist Unnikrishnan in his concert for Narada Gana Sabha, drew administrative as a vocalist emerging with a commendable level of artistic talent. His intuition to the finer forms of musical expression was revealed, strikingly in the presentation of Raga Andholika when he took up kriti (Sevikka Vendum Ayah) of Muthu Thandavar through a series of musically nuanced and rhythmically engaging, swara exercises, while drew special praise.

When he embarked on raga ‘Varali’ and developed (Seshachala Nayakam) displaying convincing imagination, in the niraval and swara sessions at (Aravindha Batra Nayanam), he was reassuring his capability.

The Bhairavi alapana that followed began well and developed through rakthi pragoyas, before touching the upper shadja. I wonder why the rishaba refused to align itself with the pitch? Definitely, phrases in the ‘ascending’ scale, were competent enough, but the ‘decent’ was enfeebled, by fast deliveries. Better modulation in vocal delivery, might have reduced the shrillness.

Charumathy Raghavan’s portrayal of Varali raga on the Violin was noticeably pleasing. Ananth R. Krishnan (Mridangam) (Grandson of Palghat Raghu) and Giridhar Uduppa (Ghatam) elated the audience, with an energetic Thani. The different patterns played by Thani attractively various gaits, were of special interest to the listeners.
On the whole, this was a music as BENISON.