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Indian Fine Arts

Talents that need honing



Jayanthi Sridhar

WITH MORE practice P. S. Lalitha, blessed with a robust voice, can attain concert standard. The flow of sangatis is not natural and she finds it difficult to do the sancharas forming the essence of the raga.

Todi was the main raga and the alpana was not effective partly due to tonal slips, as also for the reason that Kakali nishadam got mixed up on a few occasions during the alapana, song rendition and kalpanaswaras, mainly due to inadequate practice and application. ``Gam Ganapathe Namo Nama" (Hamsadvani ) was sung correctly.

The violinist B. Ananthakrishnan played supportively and made up the deficiency, to a large extent. Madurai Sundar played softly on mridangam and did a lively tani avarthanam in Adi Tala 2 kallai for 3/4 idam.

B. Muthukumar's flute recital was delightful and included popular items.

``Pranamamyaham" (Vasudevachar-Gowla), ``Pari Daanamichithe" (Patnam Subramanya Iyer, Bilahari) and ``Gnaanamosagaraadaa" (Thyagaraja, Poorvikalyani) were rendered elegantly with a flourish.

The main item ``Raama kathaa suthaa" (Madhyamavati) was the crowning piece with kalpanaswaras for ``Bhaamaa Mani" ending with a beautiful korvai. Alapanas of Bilahari,Poorvikalyani and Madhyamavathi were impressive and Bangalore B. K. Raghu 's response was attractive and in tune with the mood and style of the main artiste. Hanumanthapuram Bhuvarahan played mridangam skilfully and did a lively tani avarthanam.

Saraswathi Viswanathan tried to make her veena recital effective and she could only succeed partially. ``Marakatha vallim" (Dikshithar-Kambhoji) was enjoyable. ``Paramapurusha Jagadeeswara" (Swati Tirunaal-Vasantha)" ``Sarasa Saamadaana" (Kapinarayani), ``Venkatachala Nilayam" (Sindhubhairavi) and ``Naanaati Brathuku" (Revathi) came out fairly well.

She needs more practice in gamakas which clearly define the ragas to make a reasonably successful concert.

Percussion support was provided by Thillaisthanam Suryanarayanan on the mridangam and Srirangam Ramakrishnan on the ghatam. They played a lively tani avarthanam in Adi Talam 2 kallai for samam. Jayasree Sundararajan has a pleasant voice and the sruthi alignment was good. Rendition of songs conformed to good patanthara while the alapana, neraval and swara sessions were not given balanced treatment and did not effectively bring out the raga bhava, but the laya aspect was satisfactory. She has the potential of giving more impressive concerts with more practice, particularly in the area of gamaka. ``Sri Maha Ganapathim Bhajeham" (Atana), ``Visalakshi Visvesi'' (Panthuvarali ) ``Maamayurameethil Eri Vaa" (Bhilahari) ``Jaya Jaanaki Kantha" (Naata) were rendered well.

R. Kailasam gave competent violin support, playing some attractive phrases in Atana, Panthuvarali and Ranjani. Mridangam accompaniment of E. Krishna Prasad was competent and he played an interesting tani avarthanam in Misra Chapu talam for samam eduppu.

Jayanthi Sridhar has an expressive voice which she employs effectively to bring out the nuances of the ragas. After singing the Hamsadvani krithi ``Vathapi Ganapathim'' at a rapid pace, she sang Thyagaraja's gem of a composition ``Daarini Telusukonti" (Suddha Saveri) with a large number of attractive sangatis as per the patanthara of MLV school. Attractive Hindolam raga essay was followed by an impressive rendition of ``Maa Ramanan" (Papanasam Sivan), with kalpanaswaras revealing her manodharama.

Alapana of Mohanam covered many different shades of the raga and Thyagaraja's (Nannu Paalimpa) was rendered in grandeur, followed by attractive swaraprasthara for ``Karamuna Sara Kodanda."

Trivandrum S. R. Rajasree was soft and sweet on the violin, adequately responding to the vocalist, during alapana, song rendition and kalpanaswaras.

R. Sankaranarayanan gave able support on the mridangam, playing a lively tani avarthanam in Adi talam 2 kallai for 1/2 idam.

The duo Subha Ramaswamy and H. R. Krithi are a good combination with pleasant voices which blend well, covering the middle register and upper register upto Panchamam with clarity. ``Ganapathe Mahamathe" (Dikshithar-Kalyani) was briskly rendered. The Vaachaspathi alapana was impressive and Thyagaraja's ``Kanta Choodumi" was sung elegantly with neraval and kalpanaswaras for ``Alanaadu Sowmithri."

There were emphatic and attractive phrases in Kharaharapriya raga essay and Thygaraja's ``Pakkala Nilabati" featuring lively neraval and swaraprasthara for ``Manasuna Talachi" at a tricky eduppu.

Bangalore B. K. Raghu's violin accompaniment embellished the recital and his contribution in Kharaharapriya and Kalyani were significant. Good and unobtrusive mridangam support was provided by R. N. Ganesan who played a short and brisk tani avarthanam.

Geetha Sundaresan's vocal recital was weighty and meaningful with the inclusion of grand compositions like Dikshithar's ``Sri Rajagopala" (Saaveri), ``Ekadantham Bhaje" (Bhilahari) and Papanasam Sivan's ``Sri Jagadaambigaiye" (Lathangi).

Saveri raga alapana and the rendition of the song were satisfying, with neraval and swara exercices for ``Dheeragrahanya Deenacharanya." Villivaakkam Raghuraman's violin support was just adequate.

Vijay Ganesh accompanied on the mridangam with a soft approach. He played a short tani avarthanam in Adi talam 2 kallai for samam.

S. R. GIRIDHAR

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