Ornate instead of delicate
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CONCERT Vocal sumptuousness rather than subtleties dominated Vijay Siva's performance.
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In spite of all the essential ingredients of classicism in his equipment, Vijaya Siva's concert for Nadopasana failed to impart a lasting sheen to the raga alapanas and songs he rendered.
Vocal sumptuousness rather than subtleties and sensitive touches ruled his performing objective. In exploring depth, delicacy of charm gave place to ornate form well stylised in his bhani.
A vein of musical fervour ran through his exposition particularly of the kirtanas "Pahi-Sri-Giriraja-Suthe" (Anandabhairavi) "Emidova-Balko" (Saranga with alapana) and "Sri Subramanyaya" (Kambhoji).
None can fault him for lucidity of sahitya articulation.
Vijaya Siva sang three raga alapanas of Saranga, Natakapriya and Kambhoji. The first was far from convincing meandering without coming to grips with its specific identity.
The solo version of Mullaivasal Chandramouli (violin) was no better. As regards Natakapriya (Mara-Jananim) his attempt seemed to be to invoke a specific intellectual image of the raga.
Beauty of Kambhoji
Kambhoji rose to great heights when he showered the tara sthayi sancharas in profusion.
As the raga progressed in the higher octave, more and more of Kambhoji's beauteous facets unfolded. The song "Sri Subramanyaya Namaste" was a happy choice to suit the status he gave to the alapana. When after the effort of Natakapriya "Nannu Vidachi" in Ritigowla came, what an uplifting emotional image it created. In general the violinist placed the three ragas with great consistency. Tiruchur Narendran on the mridangam was intensely vigorous but all the same gentle. As in the case of many upa-pakkavadyam, Dr. Rajagopal (kanjira) showed his presence off and on.
SVK
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