Venkat Raman
Dheeraj Venkatachalam lived up to his family’s reputation as doyens of Bhakti and traditional music at his Arangetram as a vocal artiste at Dorothy Winstone Centre, Auckland Girls Grammar School on October 12, 2019.
Son of Venkat Subramaniam (2degrees Mobile Limited Chief Operating Officer) and Kavitha Venkat, he has the makings of some of our greatest male singers such as Madurai Mani Iyer, Maharajapuram Santhanam and Chennai Srinivasan Iyer.
It is a challenge for any vocalist to establish himself on a stage that was the venue for a highly sonorous musical concerts.
Exceptional dexterity
Dheeraj exhibited exceptional dexterity by starting with ‘Ata Ayala Varnam,’ a Pacchimiryam Adiyappayya composition in praise of Mannargudi Rajagopalaswamy, he set the tempo for the evening as he picked the high and mid-tones of Muthusamy Dikshitar to render ‘Vallabha Nayakasya,’ in Begada Ragam, set to Rupaka Talam. This was a tribute to Vallabha Ganapathi in Tiruvarur.
A disciple of renowned Dr Padma Govardhan and Suryaprakash Ramachandran (both were present at the Concert), Dheeraj’s rendition had the stamp of their pedagogy in a wide repertoire and finesse.
His command over the idiom of Carnatic classical music apart, his good sense for sahithya bhava and his artistic ability in its articulation and delivery in rhythmic cadence made his rendition distinct in its own way. Far from the uncharitable and incongruous comments of a speaker at the end of the Concert, Dheeraj drew repeated applause for his creditable understanding of the seriousness expected of a debut artiste.
Capturing hearts
Even the late Subbudu Mama, who never spared any musician or dancer, would of commented of Dheeraj: “His Concert propels the feel of the composition straight into audience’s heart. This clear articulation makes the audience enjoy each composition in its entire range of emotive shades.”
Justice was rendered to Papanasam Sivan, as the youngster executed, ‘Ka Va Va,’ eulogising our Tamil God Murugan, standing in Palani, one of His Six Houses.
There was piety at an exalted level over this song, which describes Murugan in His manifestations. Dheeraj caught the nuances of the composition rendered in Varali Ragam.
‘Brovabarama’ (Bahudari, Deshadi) of Saint Tyagaraja and ‘Brova Baramma’ (Dhanyasi, Adi) of Muthusamy Dikshitar drew wide applause adding to the tempo of the Concert.
Energetic exposition
‘Sharanam Ayyappa,’ a Papanasam Sivan composition in praise of the predominantly Kerala God came in Mukhari Ragam, immediately after which Dheeraj entered into an energetic alapana of ‘Ragam, Tanam, Pallavi’ in Shankarabharanam.
He paid a tribute to his Guru Suryaprakash Ramachandran with his composition, called, ‘Devargal Arulseida Ragangale,’ embellishing Ragam Ragamalika set to Adi Talam.
A special mention must be made of ‘Punniyam Orukoti’ sang in Keeravani Ragam and Adi Talam, a melodious number by Periyaswamy Thooran.
‘Eppadi Kettal’ (Abheri, Adi), ‘Rogaharane’ by Jagannatha Vittala Dasa (Revathi, Adi), ‘Thillana’ by Suryaprakash Ramachandran (Vasantham, Adi) were equally superb.
Dheeraj chose a combination of Tyagaraja and Subramanya Bharati to conclude the Concert- ‘Mangalam’ (Sourashtram and Madhyamavat, Adi).
Gifted artistes
H M Smitha who accompanied Dheeraj on the Violin was exceptional, while Thanjavur Murugaboopathi proved that he was a Master of Mridangam.
Madipakkam Murali, playing the Ghatam created a niche for himself especially at interludes and Adhira Venkatachalam (Dheeraj’s sister) on the Thambura, was, to mention in today’s terms, ‘cool.’
In his non-stop, three-and-half hour concert, Dheeraj proved his high level of endurance.
He also established the fact that he has gifted voice that can traverse with ease in chosen octave, fine tone and timber, sound grounding in the syntax of classicism and thorough knowledge of nitty-gritty of concert template.
