Sthira Thala Ranganatha Sharma - Shertalai Ranganatha Sharma

Sthira Thala Ranganatha Sharma

It was Day 2 of the MadRasana festival held at Sathyam Cinemas. When I first heard about this concert series in 2016, I was very curious. Infact even skeptical about the ethos, quality & success of this concept where the ambience is of a multiplex theatre and not a sabha. Right from the idea of snacking on a popcorn along with a cold coffee versus a Keerai Vada along with a filter Coffee was somehow incongruous with me. 

This was my first year at MadRasana and I must confess the experience was not only unique but also wonderful. We had their hospitality team taking care of every single thing making it on the whole a memorable experience. 

It was Shertala Ranganatha Sharma who was to perform for an avid gathering. His first song for the morning was amusingly one starting with his own name ‘Raganathudhe’ in Ragam Saurashtram, set in Rupaka thalam which was a composition of Ponnaiah Pillai. It was in praise of Lord Ranganatha and our Ragannatha Sharma sang in a very effortless manner making a fine beginning. 

To talk about the composer Ponnaiah Pillai here would not be inappropriate even though this is a review about the vocalist because we rarely take the effort to know more about these composers (other than the Trinity) without whom Carnatic Music would be less rich. Ponnaiah Pillai belonged to the family of the Tanjavur Quartet, Chinnaih, Ponnaiah, Shivananda and Vadivelu who were the disciples of Muthuswamy Dikshitar. He learnt music from Anantharama Bhagavathar and in 1932 he was given the Sangita Kalanidhi award. He composed many swarajatis, varnams, keertanais & thillanas. And his great contribution to the field of Carnatic music wouldn’t have be possible if opportunities were denied by a certain segment of society. Ponnaiah Pillai stands testimony to the fact that merit alone matters. 

Ranganatha Sharma went on to sing Mysore Vadudevachar’s composition in Ragam Kamas ‘Brochevaravarura’ set to Adi thalam. Here is a person with a name starting with ‘Mysore’, who wrote largely in Telugu and Sanskrit back then in the early 1900s. Guess there was no language war and people were broad minded and large hearted enough to be inclusive. In this krithi, Ragannatha Sharma displays his extensive knowledge in Carnatic music as a vocalist and as one of the best teachers today. It was a flawless rendering and he had an appreciative audience. His experience shone in a quiet confident way and I was happy that the morning had begun well. 

His next song was Saint Thyagaraja’s ‘Mavaira Ramani’ in Ragam Nasikabhooshini set to Rupakam thalam which is one my favourites. It was an absolutely straightforward rendering with no gimmicks and every aspect of the song was dealt with utmost clarity. 

What followed was another Thyagaraja’s composition ‘ Nee Dayaradha’ in Ragam Vasanta Bhairavi set to Rupaka thalam. Everything about his singing met all the grammar rules of Carnatic music, be it swara prasthram, alapane, or thalam. 

His main piece for the morning was Saint Thyagaraja’s ‘Inta Soukhayamani’ in Ragam Kaapi set to Adi thalam. This is a song where Thyagaraja expresses the comfort and pleasure he gets with the very thought of Rama and his name. Thyagaraja questions, unless someone experiences this, how will they not know the bliss it gives? Sharma took his time to deliver this song in detail while he let the audience soak in the comfort & pleasure of good music asking themselves ‘Inta Soukyamani’ 

Just as I was wondering if it was a Thyagaraja thematic concert as it was already 3 Thygaraja Krithis in a row, he concluded the concert with Gopalkrishna Bharati’s composition in Ragam Behaag ‘Irakkam Varamal’ set to Rupakam thalam. As in all his compositions Gopalkrishna Bharati asks his Lord Nataraja in Chidambaram about his lack of compassion and mercy towards the poet. Shertala sang in a very Sthira or steady manner throughout the concert and what stood was his commitment to the purity of Carnatic music as pure as Shuddh Desi Ghee ! 

About the Author:

Sandhya Shankar belongs to a well respected business family in Chennai. She is a Life Skills & Corporate Trainer by profession. She is an avid reader and a natural writer, who has written several poems and articles. She even presented her poems as a reading at the British council. She has keen interest in all art forms  and has explored many different forms of painting like stained glass and Tanjore being among them. 

Music being her first passion, she had her formal training under Terakotti Chandrasekharaiah at Bangalore and later briefly under Mrs Champa Kumar. She is a regular visitor of concerts, theatre and other live performances. Her witty reviews have gained a loyal and interactive readership for their sound technical commentary and relevance for every kind of melophile, from the casual-goer to the ragam expert, frequenting Chennai’s rich music scene.

(*The views and opinions expressed herein are those of the author and not necessarily those of Music of Madras.)