Season Review - Prince Rama Varma @Arkay

By Amritha Saravanan

Prince Rama Varma’s performance at the Arkay Convention Centre was more than just a concert; it was a masterclass in musicality and humility. The evening began with a slight delay as the team awaited vidvan Ghatam Karthik. Rather than letting the energy dip, Prince Rama Varma took the stage with S.R. Vinu on violin, B. Harikumar on mridangam, and Payyanur Govindaprasad on morsing, keeping the audience fully engaged with backstories of the opening pieces. When Karthik finally arrived to warm applause and offered a sincere apology to the audience, the ensemble was complete.

The opening piece was a pada varnam Saa Vaa Marushyaathu in raga Khamas. Before singing, Varma took the time to explain the structure and theme of a pada varnam, helping the audience appreciate the cleverly embedded swaraksharams within the creative swara patterns and Swati Thirunal's exceptional command over melody.

He shared a personal anecdote from his childhood. He recalled attending concerts where he felt disconnected from complex compositions he hadn't yet learned. To make sure the young rasikas in the hall felt included, he presented the geetam Vara Veena composed by Appayya Dikshitar in aga Mohanam. By performing it in tisram and mel kalam, he transformed a fundamental lesson into a professional masterpiece.

The concert continued with a composition of M. Balamuralikrishna Kumaru Ni Valenu in raga Vakulabharanam. Varma narrated the fascinating backstory of how a saint inspired Balamuralikrishna to compose kritis in all 72 Melakartas, followed by a lively exchange of kalpana swarams between the artists. A contrasting flavour emerged with Subbaraya Sastri’s Janani Ninnuvina (Reetigaula),  performed in a soulful chauka kalam that evoked a sense of profound meditation. He took a moment to explain the significance of the composer’s mudra found within the charanam verses, enriching the audience's understanding of this classic composition. Varma performed Hariyum Haranum ondr' in the energetic raga Athana—a masterpiece by his manasika guru, M.D. Ramanathan.

The main piece, Gangeya Vasandhara in raga Hamir Kalyani, was a grand display of talent. The tani avartanam was particularly exciting, as Ghatam Karthik’s vocal konnakol added a unique texture to the performance along with B. Harikumar and Payyanur Govindaprasad. Their collaborative energy made the stage feel like a full percussion ensemble. The evening also held a modern twist: - Rama Varma accepted a request from an audience member to wear AI glasses for a short time to record the proceedings, showing his characteristic openness to new experiences.

A charming composition on Lord Narasimha, Mattapalli Narasimh' by Vatsala Rangaswamy, flowed next. This was followed by Sree Rama ni namamu' by Kaivara Amara Nareyana, which Varma transformed into a delightful mini-masterclass. By teaching the audience specific swara portions, he turned the performance into a vibrant sing-along session. At the request of Ghatam Karthik, Varma then presented Bala Tripura Sundari- by Prayaga Ranga Dasa, the grandfather of  vidwan M. Balamuralikrishna. The concert concluded with a soulful Behag tillana composed by the legendary T. V. Gopalakrishnan.

S.R. Vinu on the violin was an ideal foil to Varma’s expansive style, responding with warmth and clarity while retaining the classic gait of each raga. His returns, particularly in Reetigaula and Athana, were filled with bhava and an unhurried elegance.

There is a warmth to Rama Varma’s persona that makes every concert feel personal. His focus on the meaning of the sahitya allows the composer's voice to shine. His well-timed humour kept the audience engaged, creating a relaxed atmosphere. The bond between the musicians made it feel like a group of friends enjoying music together. Having cultivated a dedicated following through his distinct style of presentation, he performed to a full house at Arkay—an audience that departed feeling deeply humbled and inspired.