INDIAN FINE ARTS
Fluent at a leisurely pace
SANGEETHA SIVAKUMAR has a pleasant resonant voice with range and she has cultivated the technique of easy flow of sangathis, in line with the tradition of the GNB School. She chooses a relatively slower kalapramana which enables her to give expression to her manodharma, without succumbing to the temptation of racing, just because the voice permits it.
Dikshithar's ``Vallabha Nayakasya" was brisk with kalpanaswaras. The Poorvikalyani alapana brought out the raga adequately and Tyagaraja's well known song ``Gnanamosagarada" was handled competently with neraval and swaraprasthara for the beautiful line ``Paramaathmudu Jeevaathmudu." Mohanam featured slow and fast phrases bringing out the melody beautifully and Thyagaraja's famous composition ``Nannu Palimpa" was sung with traditional sangathis, decked with kalpanaswaras.
Violin support was ably rendered by Dr Jyothsna Srikanth, who played some beautiful phrases in Mohanam and Poorvikalyani. A slightly slower pace while playing alapana will make a greater impact.
Effective mridangam accompaniment was provided by Dandamudi Sumathy Ram Mohan Rao. Her tani avarthanam featured interesting rhythmic phrases and a unique concluding korvai.
D. K. J. Sukanya has vidwat which was evident from her rendition, traditional and chaste. She has a feeble voice with which she managed to bring out the raga bhava. Dikshithar's ``Sree Nadaadi Guruguho Jayathi" in Mayamalavagowla provided a good start.
The Kalyani alapana was full of beautiful phrases characterising the raga and Papanasam Sivan's gem of a composition ``Unnaiyallaal vere gathi Illai Amma" was impressively rendered with neraval and swaraprasthara for the emotive line ``Neeye Meenakshi Kamakshi."
Violin support by C. V. Krishna Subramaniyan was competent, particularly in Kalyani. Ammangudi Ramanarayanan gave able support on the mridangam, doing an interesting Tani avarthanam in Adi Tala 1 kallai concluding with a long korvai..
Young Saketharaman has a pleasant ringing voice, well aligned to the sruthi and his recital was impressive. ``Sambhomahadeva" in Bowli struck a chord with the listeners right at the start. Thygaraja's Bahudari song ``Brova bharama" was adorned with a brief swaraprasthara. Todi was expanded in detail, going through various shades and nuances of the raga and Syama Sasthri's major composition ``Ninne Namminaanu" was beautifully handled, bringing out the grandeur and majesty of the song, doing neraval and kalpanaswaras for the famous phrase ``Kamakshi Kanjadalayathakshi."
Violin accompaniment by Kalyani Sankar was supportive and she played attractive phrases in Todi and Ranjani. B. Sivaraman gave good rhythmic support on the mridangam, playing several korvais and an exciting tani avarthanam in Misra Chapu tala for 2/3 idam.
Aruna Ranganathan has a sound knowledge of the nuances of Carnatic music and the traditional values which form an integral part of the system. The Dhanyasi alapana was satisfying and Gopalakrishna Bharathi's ``Tiruvaadirai Darisanam" was decked with a few delightful kalpanaswaras. The main raga Sankarabharanam was expanded in depth, bringing out the multifaceted beauty of this grand melody. Dikshithar's immortal krithi ``Akshayalinga Vibho" was handled with aplomb, doing raga-filled neraval and swaraprasthara for ``Badareevanamoola."
Dr Hemalatha provided supportive violin accompaniment playing Dhanyasi and Sankarabharanam attractively. Ganapathiraman provided competent mridangam support, well assisted on the ghatam by Sivaramakrishnan. The Tani avarthanam in Misra chapu tala for 1/3 idam was brief and entertaining with an exciting concluding korvai.
Over the years T. V. Ramprasad has improved the standard of his performance considerably. The voice is heavy, robust and resonant with which the artiste is able to capture the subtleties of Carnatic music delightfully and soulfully. Thyagaraja's ``Merusamaana" and the beautiful neraval of the phrase ``Kalamuna Sobhillu" provided a good start and indicative of what was to follow. Dikshithar's Navagraha krithi ``Chandram Bhaja Maanasa" in Asaveri was elegant and appropriate as the concert day was Monday. The Kambhoji alapana and Dikshithar's composition ``Sree Subramhanyaya Namasthe" were rendered brilliantly and the impact was so great on the listeners who would remember the concert for a long time to come. Kalpanaswaras were sung for the phrase ``Manasija kotikoti" with eduppu at ½ aksharam before samam.
Anaiyampatti Venkatasubramaniam gave good support on the violin, playing Kambhoji, Mayamalavagowla and Asaveri elegantly.
Bangalore H. S. Sudindra gave able rhythmic support on the mridangam and his tani avarthanam in Rupaka Tala for a tricky eduppu at ½ idam before samam was exciting culminating in an inspiring korvai.
S. R. GIRIDHAR
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