Thyagaraja all the way
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Concerts of Dhanya and Sindhu proved that they are promising singers.
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Dhanya Madhusoodanan has a rich voice.
IT WAS a Thyagaraja concert all along. But for a few other compositions, Dhanya Madhusoodanan's concert relied heavily on Thyagaraja compositions. The concert opened with `Saraguna,' a varnam in Todi. `Vathapiganapathim' of Dikshithar was one step ahead in getting in sync with the audience. Another ghana raga and the elaborate pancharatna kriti in Gowla `Dudukugala' ensued.
Dhanya gives a brief sketch of the raga before every composition. Hence Reethigowla received a sweeping essay. The vocalist has a rich voice, the scope of which has to be broadened and the range enhanced. She hardly expands till the upper gandhara and her lower notes are rarely heard. `Ragaratna malitache' in roopaka talam displayed her adherence to pitch. `Chalamelara' in Margahindolam followed. A flippant alaapana of Kanada in a light vein was followed by the Thyagaraja's kriti `Sukhiyavvaro.'
Soothing voice
Nedumangad Sindhu's fervent elaboration of `Pantuvarali was soothing. `Sundarataradeham' demonstrated the vocalist's mastery over the techniques. Dhanya has a strong grounding from which she has to further improve to fit the concert mould. That would call for more spontaneity and better rapport with fellow artistes and audience. Vypeen Satheesan on the mridangam never failed to provide the right percussion. Abdul Azeez, originally a violinist, had donned a new garb - that of the ganjira player.
Elaborate swara passages further embellished the piece. `Vararagalaya,' a trump card of the GNB school of musicians provided the right interim relief. A delineation of Kharaharapriya came as a relieving cool breeze. There was less emphasis on the key phrases and an all-encompassing essay was what followed. And there was no stopping Sindhu in giving her best once again this time. `Pakkala nilabadi,' the popular kriti was next. The slips in the rhythm were more obvious in the last sangati of the pallavi and the neraval for the phrase `thanuvuche vandana.' Conspicuously, Dhanya went for ragamalika swaras in Kapi, Revathi and Kadanakuthoohalam. The thaniyavarthanam in mishram was an intricate one often at the point of breaking apart. `Neevadane gana' in Saranga, `Singaravelavan vandan' in Anandabhairavi, `Chinnanchirukiliye' in ragamalika was followed by ragamalika slokam and a Tillana in Hindolam.
HAREESH BAL
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