Homage to Tyagaraja
RENDERING OF Sri Thyagaraja's kirtanas is not the same as experiencing the subtleties and depth. The kutcheri by Madurai G. S. Mani at the Mylapore Fine Arts Club's Thyagaraja aradhana day was devoid of any inspirational traits, though he sang nearly a dozen songs. It looked more as the vocalist's bondage to the mridangist Umayalpuram K. Sivaraman than a devoted homage to the saint composer. While G. S. Mani's role was crucial, it was the mridangist that came out as the real player.
``Rama-Bhakti" (Suddha Bangala), ``Merusamaana" (Mayamalavagowla with an unimpressive alapana), ``Eti-Janma" Varali), ``Cheraraavademira" (Ritigowla) and ``Upachaaramu" (Bhairavi) were the notable items presented. In the raga versions of Varali, Ritigowla and Bhairavi by the violinist Nagai Muralidharan, the quality of sensitivity and precision predominated. The turns of his manodharma resulted in gracefulness and dignity. Sivaraman's accompaniment was overlaid with flashy pharans. B. S. Purushothaman was the kanjira artiste whose presence was rarely felt. Kutcheries in January and February at the city's sabhas are welcome in that they are devoted to Sri Thyagaraja's legacy. Nada Inbam had Suguna Purushottaman rendering the saint's kirtanas. However varied the expressional style of the vidwans or vidushis, the very fact they are Sri Tyagaraja's songs stirs reverential chords in the minds of the rasikas. If they are familiar songs, the enjoyment is all the more fulfilling for, polished over the years by many veteran artistes, the rasikas do not mind any deficiency in a recital making it up by recalling the anubhava of what they had heard in the earlier years. Of the ragas and many kirtanas rendered by Suguna Purushottaman, Devagandhari alapana and kirtana ``Naa-Moraala-Kimpa" took the pride of place. That she etched Devagandhari with minimal phrasings was testimony to her understanding as to at what length the raga has to be elaborated to keep its mesmerising eloquence. The kirtana too was well rendered to air its evocative emotion. But, was the swara pudding necessary? It only brought down the serenity?
``Brochevarrevare" (Sriranjani) struck the proper mood of homage followed by the didactic Revagupti piece ``Graha-Bala-Memi" — ``What is the potency of the nine planets before Sri Rama's anugraha?" ``Gattiganu" (Begada) ``Naadupai" (Madhyamavati) and ``Nammi-Vachchina" (Kalyani with an alapana) sailed with neither hitch or ebullience. V. V. Srinivasa Rao was the violinist who marked his solo versions of Devagandhari, Madhyamavati and Kalyani with moderation. Thanjavur Kumar, on the mridangam, was a picture of gentleness and softness. — SVK
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
