Bhairavi gets precedence
THE PERFORMANCE of Suguna Purushottaman under the auspices of Sri Krishna Gana Sabha in the Gokulashtami series was oriented to focus articulation on her vidwat as could be inferred from her presentation of the alapanas of "Janaki Ramana" in Suddha Seemantini and "Sri Maathrubhootam" in Kanada.
Though she did not err on the side of over-indulgence, each segment of the vinyasas of those two ragas and later Bhairavi was inconsonance with the image of a vidushi groomed on the emotional dimension of sangita, which dominated her performing style. With the intention to give a personal identity to whatever she handled, her motives were clearly etched particularly in the neraval patterns and the way she built up the cutcheri revealed to the listeners her musical perspective. Her interpretation of the kirtanas was in good shape with importance given to the Bhairavi piece "Nee Paadamule Gati." Violinist Usha Rajagopalan nursed the ragas in her solo versions with care peppering the alapanas with a liberal sprinkling of speedy phrasings. The sancharas were performed with tonal felicity.
The mridangam accompanist Ganapathyram and the ghatam artiste Karthick were ebullient with laya ostentation and pomp well noticeable in the tani avartanam.
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