Chaste performance
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Preethi Satheesh, a promising vocalist, performed in Kochi recently.
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Preethi Satheesh has a voice that can convey emotions.
GOOD TEACHERS of art are rarely good performers, and a full-fledged performer often shies away from training younger artistes. The ones who accomplish both have a lot to feel proud about.
Preethi Satheesh, a lecturer in music at Sree Sankara University, proved that a teacher could be a good performer too. Her concert was organised by Rasikapriya and Andhra Cultural Centre. The artiste has pleasing stage demeanour and a voice that is capable of conveying emotion.
One of the opening pieces `Vinayaka vignanashaka' in Vegavahini saw chaste use of chittaswaram and kalpana swaras. `Veenabheri' is a rare kriti with a pun on the raga mudra. `Sivananda Kamavardhani' in Pantuvarali was noteworthy for the neraval and swaras. Thirunelloor Ajit Kumar on the violin performed well. `Ramabhakti samrajyam' in Sudha Bangala was followed by `Akhilandeswari raksha mam' in Dwijavanti raga, a kriti dedicated to the goddess in Tiruvanaikka. There are doubts if this song was composed by Dikshithar. The raga mudra used is `Jujavanti' and not `Dwijavanti' as used by Dikshithar. His treatment of the raga in this kriti is quite different from his kriti `Cheta Sri Balakrishnan' in the same raga. `Veeramanjaneyam,' a kriti on Hanuman in Atana, fully exploits the `veera' rasa inherent in the raga. Except in the main piece, the vocalist often rendered all the pieces in the same `kalapramana.' A variation in this would have been welcome.
Thyagaraja's spiritual appeal was not limited to addressing the lord with adjectives and superlatives. He often criticised the ways of the world in pursuit of material pleasures. `Durmargachara' in Ranjani raga is a prime example. The thrilling number `Raghuvamsambudhichandra' in Kathanakuthoohalam was followed by the racy exposition of `Sankarabharanam.' The neraval for `mooladharaja' and the first kalai swaras marked excellence in the rendition of this piece. The first kalai swaras were so crisp as to tightly fit a cycle with no loose ends. Balakrishna Kammath on the mridangam and Vinod on the ganjira performed a clean thani with well-rehearsed mukthaippus. `Narayana ninna' in Sudhadhanyasi, `Keshava pinchadhara' in Desh provided for delectable listening. Given the right opportunities, Preethi Satheesh could prove to be a promising vocalist.
HAREESH BAL
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