COMMUNICATING THE technique of interpretation is one thing and imparting a sense of reverie is another. The former contributes to a stereotyped performance, the latter to a contemplative stimulation. A lyrical mode of expression pays homage to pauses, subtleties and sensitivity. Proper programming plays a vital role in ensuring the success of a concert - not just a list of songs alone but sufficient home work to decide on the allotment of time to each item. In its absence a brisk beginning tends to sag in the middle.
In her recital for Nadopasana, Gayatri Girish revealed her faith in the directness of approach to make her presentation effective. "Gana-rasamudan" (Begada) and "Chalamelara" (Marga Hindolam) gave a pacy start to the concert. Two ragas Poorvikalyani (a Tiruvempavai hymn) and Todi (Dasukovalena) were given alapana status. Even though elaboration abounded with the all-too-familiar sancharas, their beauty remained unconveyed. Particularly the Todi alapana and neraval were overstretched. At this stage the recital erased the briskness built up earlier. Gayathri's talent, honed by good training, was never in doubt to sing the kritis in pleasing style. Her exposition in totality was within the bounds of sastraic politeness. Sanjeev was the violinist whose responses to the vocalist were decorous. Poongulam Subramaniam (mridangam) and Karthick (ghatam) decorated the songs with percussive ornamentation. SVK
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