HAMSADHWANI
Impressive talent from abroad
Anuradha Sridhar and her mother Srimathi Brahmanandam
BHAVANI RAMAMURTHY'S concert was good in parts. She has to practise voice culture, which alone will obtain sruti suddham. This artiste from Singapore has a lot of zest and musical sense. Her RTP in Keeravani (Adi 2 kalai) made an impact of sorts. "Chandra Sindoor," a ragamalika, was sung competently. Thanjavur Shanker Iyer's "Manathirku" (Sindu Bhairavi) was also a good effort. The Hamsanandi tillana scripted by Srimushnam Rajarao was noteworthy. Swami Dayananda Saraswathi's "Siva Sambo" (Revathy) and Salem Easwaran's "En Nenjil Pallikondavan," (Jesudas's favourite piece in Kalyani) programmed in the last phase of the concert, won commendation. Oothukadu's rarely heard Santhatham in Bilahari showed the artiste's quest to learn new songs. The Dharmavati alapana for Dikshitar's "Parandhamavati" warrants mention.
Bhavani Ramamurthy has not arrived on the concert stage too soon. But that she has to go some miles to attain a superior position, was the opinion of rasikas. Kalyani Shanker's violin support was adequate while Delhi Sairam's mridangam beats, especially in the tani avartanam, revealed a good patanthara.
Well-chosen repertoire
Beginning with a pacy Ranjani varnam, "Amboruha," authored by GNB, Sindhu Sundar (Singapore), followed it up with "Sarasiruha" (Nattai). She appeared to falter in swara rendering quite a few times but came off good in Papanasam Sivan's "Paratpara" (Vachaspati). The Kanada alapana for Tyagaraja's "Sri Narada" was just plain and lacked weight. Harikesanallur's compositions have delectable chittaswaras and "Sudhamayi" in Amritavarshini is a popular piece. Thooran's "Muruga Muruga" (Saveri) is full of compassion. Gopalakrishna Bharathi's "Tiruvadicharanam" in Khamboji has undiminished appeal and the artiste did full justice with neraval and swaras. "Kandene Kanasinalli Govindana" is Purandhara Dasar's ecstasy evoking piety in Chandrakauns. A Veeramani ragamalika, Narayana Tirtha's "Sakalokaadara" in Valaji and Lalgudi's tillana in Brindavana Saranga, were well chosen for the final phase of the concert. The artiste excelled in tukkadas. G. Venkatasubramanian (violin) and Payyur Gopalakrishnan (mridangam) were the accompanists.
Sindhu Sundar had earlier trained under Shanta Subramaniam, sister of Vani Jayaram and is currently under Padmalingham. Also a dancer of repute Sindhu's interests are varied.
Perfect co-ordination
It is perhaps stating the obvious to credit the performance of the violin duo Lalgudi Srimati Brahmanandam and her daughter Anuradha Sridhar (stationed in the U.S.) with unalloyed sowkhyam, vishranti and divinity. With perfect co-ordination acquired from long and dedicated practice, the duo's recital was most pleasing and flawlessly executed. Anuradha played a succinct alapana in Urmika for Pallavi Sesha Iyer's "Entanivina" — a favourite with OST. Following it were "Pariya Shakamaata" (Vanaspati-Tyagaraja) and another striking alapana in Harikhamboji for "Enthara Nee Thana," with neraval in "Seshudu Shivuniki." And then began the RTP in Brindavani (chatushra jati jhampe kanda) with the inevitable raga malika (Kedaragowla-Brahmanandam) Ranjani (Anuradha) Kanada (Brahmanandam) and Revathi (Anuradha). Lalgudi's Kathanakuthoohalam tillana gave the usual lift. It was a landmark performance of the season quite expectedly. Competent laya support was given by R. Ramesh (mridangam) and S.V. Ramani (ghatam).
Commendable zest
The duration of the alapana in Valaji for Papanasam Sivam's "Padame Tunai" rendered by Sarojini Sundaresan could well be a record of sorts at Hamsadhwani. The veteran's zest was most commendable. A devotee of Alattur bani her swaraprastharam for "Balambikaya" (Sriranjani-Dikshitar) after a comprehensive alapana, was a good effort. Tyagaraja's "Sarijesi Veduka" in Teevravahini is not often sung.
Sarojini got competent voice support from Leela Rammohan Rao, whose composition "Darshan Dedo" (ragamalika set to tune by Sarojini) made a good impact. Syama Sastry's Todi classic, "Ninne Nammi," after an alapana and resourceful swaras, "Chitrasabai Thanile" (Neelambari), and Sarojini's tillana in Varamu are worthy of mention. It was a sincere and an unpretentious concert in which the accompaniments were Maalmarugan Yoganatham (Australia), and Tiruvarur Balam (violin).
Pliable voice
At this NRI season (Hamsadhwani) artistes from Singapore are to the fore. The most commanding performance was given Janani Ganesh. She has a rich shariram pliable at all octaves and she displayed a good sense of timing, quantifying the brigas, gamakas and swaras. The alapanas were crisp. A disciple of Trivandrum R. Venkataraman, Janani is currently under the tutelage of A.K. Karunakaran. Her debut concert was at the age of 12. Her concert at Hamsadhwani is the fifth in a row. Good in academics, she is doing her "A" levels at Raffles Junior College at Singapore.
Tyagaraja's "O Rangasayee" (Khamboji) is the most common song in the legendary M.S.' recital. Singing this kriti and winning kudos at the conclusion, Janani revealed extra potential. Beginning most appropriately with Dikshitar's "Budha Asrayami" (Nattukuranji) Janani at once won the hearts of the rasikas with her total involvement and diction. Gopalakrishna Bharati's "Kanakasabapathikku" (Atana) and the detailed Saveri alapana for Sama Sastry's composition "Dhurusukha" (Saveri) and Tyagaraja's "Yochana" with enticing phrases and metaphors in Darbar were memorable efforts. Surdas bhajan was a lilting finale, with the penultimate ragamalika ("Vadavarayai" from Silapadikaram) earned an ovation for the artiste who sang with abandon and total confidence. Hemamalini came off well in swara duels while K.P. Anil Kumar (mridangam) got kudos for the subtle beats.
Comprehensive Todi
Kumudha's concert was laboured most of the time. It was only towards close that she made some impact, when she sang a comprehensive Todi alapana for "Kathanuvariki." The swaras emphasised her lineage - she is the daughter of Suguna Purushothaman. "Entha Bhagyamu" (Saranga), a vrittam in Bilahari, was a curtain raiser to Oothukadu's "Gyanakannai Thirandhu Paar." Srilakshmi Venkataramani, and Akshay Anant gave good support.
Fascinating pallavi
OST's senior disciple, an academician, who has accompanied him in several concerts and also sung independently on a couple of occasions at Hamsadhwani, Shankar Ramani (U.S.) gave his most outstanding performance with a Khambhoji RTP in the most intricate tala (tisra jati, triputa four kalai). The pallavi line itself was fascinating: "Ananda Natanam Aadinar Tha Thimi Tha Thom Ena Kanaka Sabhaiyil". While the alapana was very pleasing and covered all the gamuts it was the tala beats of the vocalist that struck most. At every teermanam he got an applause from the audience who gave it in good measure to the violinist S.V. Ramachandran and young Rohan Krishnamurthy (mridangam) also. There was the usual ragamalika swaras in Nattai, Revathi and Valaji. Rohan himself appeared to enjoy the intricate RTP, which quite challenged his laya prowess. After subtle beats and teermanams as answers to the vocalist and the violinist he went all out in the tani avartanam. Four years ago Rohan made his debut at Hamsadhwani and is it any wonder that with dedication, marathon practice and accompanying visiting senior vidwans he has improved by leaps and bounds. Incidentally Shanker Ramani has made OST proud with his scholarly exhibition. The Hamsadhwani varnam "Jalajaksha" was a good start followed by Dikshitar's "Renukadevi" (Kannadabangala.) Pleasantly restrained in tarastayi he sang "Kshirasagara" in Devagandhari and followed it with Syama Sastry's "Tharunam Meedamma" (Golipantu), giving an altered mood — clever work indeed. In keeping with his master's way of concluding the concert he sang "Naadupai" Madhyamavati).
Full of enthusiasm
That Shuba Chandramouli does not muffle her voice is a good point in her favour. But unless through voice culture she develops the finer nuances of the raga it could become an exercise in high decibel. She is full of enthusiasm and willing to practice, which bodes well for her success. The highlight of the concert was Tyagaraja's "Dashukovalena" (Todi-jhampa) which she rendered satisfyingly. As usual the neraval at the last line of the charanam "Sowmitri" and the swaras revealed a good patanthara. (This song was Alathur's favourite and the duel between the brothers used to send rasikas to raptures). Bharatiyar's "Annai Annai Gozhikoothu," "Pullikalabha" (kavadhicinthu) "Aadathu Asangathu" (Madhyamavati-Oothukadu) flavoured the last phase of the concert deserving kudos for the choice. Beginning with Navaragamalika varnam in Valaji the artiste sang Syama Sastry's "Nannu Brova Lalitha" (Lalitha) competently. Purandara Dasar's "Vandisuvu" (Nattai) and another in Mukhari made an impact. Sadasiva Brahmendra's "Gayathri Vanamali" (Hamsadhwani) was another good piece. On the whole selection of songs should not be faulted. She needs to practice harder to render them better — quite promising.
Appreciable technique
Perfect co-ordination, robust presentation, strict adherence to vadya-dharma (with no unnecessary gimmicks or swara manipulations) and appreciable technique derived after long years of joint practice assure the veena duo, the Iyer Brothers (Gopinath and Ramnath) from Australia, success. Gopinath's "Sankarabharanam" with tanam for Tyagaraja's "Endukupeddaavale Buddi," neraval and swaras duels at the charanam entertained rasikas.
The opener was Vasantha varnam, followed by Dikshitar's "Sri Mahaganapathim" and Gopinath's Anandabhiravi alapana. (The song was Syama Sastry's "Marivere.") Ramnath answered with a striking alapana in Purvi Kalyani for "Gyanamusagarada." Swati Tirunal's Arabhi piece "Narasimha" was noteworthy.
On request the duo played Gandhiji's favourite "Vaishnava Janato" and earned the final applause. Sravanan (mridangam) who joined from the mid-session and Ravi Balasubramaniam (ghatam) gave a telling tani avartanam.
KSR
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