![\"Rishabh](\"https:\/\/www.thehindu.com\/theme\/images\/th-online\/1x1_spacer.png\" "\\"Rishabh")
<\/picture><\/div>\nWhat stood out in Rishabh Kaushik\u2019s Nadhasangam concert for Narada Gana Sabha held at its Mini Hall recently was his diligence. There was a good mix of ragas and composers and Rishabh showcased his talent adequately. He was accompanied by Indhalur Shyam Raghav on the violin and Vishnuvardhana K on the Mridangam.<\/p>\n
The young vocalist began with the lively Kadanakuthoohalam varnam \u2018Saranagata vatsale\u2019 by Calcutta Krishnamoorthy. He then proceeded to present Saint Tyagaraja\u2019s \u2018Narada gana lola\u2019 in Atana, set to Rupakam. While the rendition was generally neat, swarathanams were off the mark at times.<\/p>\n
After a crisp raga alapana of Vachaspathi, Rishabh presented Papanasam Sivan\u2019s \u2018Paraathpara Parameswara\u2019. He would do well to keep in mind that splitting the compound word charanaaravinda (charana + aravinda) into charanaa and ravinda (in the anupallavi line sundara charanaaravinda ananda) would rob of both the linguistic beauty and the meaning. While it may not always be possible to break compound words perfectly while singing, owing to the demands of musical aesthetics, the first sangati at least needs to be rendered properly for the sake of expressing cognisance. And, it is \u2018Subrahmanyan thandhaiye\u2019, and not \u2018Subrahmanyam thandhaiye\u2019 in conclusion of the charanam. Rishabh then negotiated the niraval and swara sequence phase at \u2018ari ayanum kaanaa\u2019 with sufficient assurance.<\/p>\n
Oothukadu Venkata Kavi\u2019s poignant Ritigowla song \u2018Enna punniyam seidaeno\u2019 in Misra Chapu was followed by the main kriti \u2018Kaligiyuntegada\u2019 by Tyagaraja. After a satisfactory exploration of Keeravani, Rishabh presented the song competently, with niraval and swaraprasthara at \u2018bhagavata agresarulaku\u00a0\u2019. He capped off the recital with a moving tillana in Misra Sivaranjani composed by Maharajapuram Santhanam.<\/p>\n
Shyam Raghav\u2019s bow work was tidy throughout. His raga essays, both Vachaspathi and Keeravani, were evocative. Vishnuvardhana\u2019s percussion support was deft, and his thani for the 2-kalai Adi tala was vibrant.<\/p>\n
While the concert underlined Rishabh\u2019s promise, it also highlighted areas needing attention, such as dictional fidelity, gamaka felicity, modulation, and emotional engagement with the compositions. With more guidance, hard work and exposure, he can aspire to establish himself in the field.<\/p>\n<\/div>\n