Marked by depth and dignity
Saroja and Lalitha ... dynamism of approach.
SUSTAINED ATTENTION to the depth and dignity of presentation marked the performance of Bombay Sisters, Lalita and Saroja, in the Mylapore Fine Arts Club music festival. The way Lalita built up the delineation of Kalyani revealed her musical perspective. The development of various stages mirrored dynamism of approach to expression, particularly in the upper reaches. It also revealed the expressive possibilities of a trained voice. With all that, if the sancharas had been well trimmed without making them overburdened, the impact would have been more specific. It was almost on the same lines that Saroja later enunciated Todi.
The kirtanas too were rendered with ebullience — "Evarani" (Devamritavarshani), "Sitapate" (Kamas) and "Himaadri Suthe" (Kalyani) with equally vibrant neraval and swaras.
Violinist H. N. Bhaskar's solo versions of Kalyani was skilful sans subtleties. It lacked the weaving of gana-naya in the sancharas. K. R. Ganesh, on the mridangam, in the company of Madipakkam Murali (ghatam) was precise in his rhythmic support.
There can be no rigid criteria for judging a concert. What is important is that a cutcheri is good or bad according to defined guidelines built over decades. Bombay Sisters adhered to this approach.
If the true aesthetic values in the performing plan are ignored in preference to vocal profligacy and expressional giganticism in decibel and tone and obviously the music can only serve to hurt the sensibilities of listeners.
Unfocussed
In the singing style of T. N. S. Krishna refinement of expression all the time went into hiding. The high-decibel amplification added to aural discomfort. His effort in the alapana of Todi was unfocussed and smacked of wild wanderings over the octaves. The kirtanas he rendered were "Sarasiruha" (Nattai), "Daasukovalena" (Todi) and "Ambavaani" (Kirvani).
R. K. Sriramkumar, violinist, more experienced by playing to top-class musicians, was a picture of sobriety refraining from excesses. M. S. Varadan (mridangam) and Sunderkumar (kanjira) well danced to the vocalist's gimmicks.
Controlled articulation
In the previous cutcheri, Delhi V. Muthukumar outlined Sankarabharanam raga with delicacy and dignity. With a well-modulated voice and controlled articulation in the tara sthayi, the picture of Sankarabharanam was heart-warming.
In the same plane, violinist P. Ambika Prasad evoked in his instrument elegant and graceful tone and his version of Sankarabharanam came out with a clean image. The kirtana, "Akshaya Linga Vibho" was rendered with great poise. M. S. Varadan presented a crisp tani avartanam.
SVK
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