Bright young talents steal hearts
LOUD AND CLEAR Saketaraman impressed with his rich voice
The vocal concert by Saketaraman, a young software engineer, held at Jaganmohan Palace under the aegis of Sri Nadabrahma Sangeetha Sabha, Mysore, carried the stamp of Lalgudi School in raga bhava. However, the sublime approach in methodology of gamaka was inadequate to delineate the raga spectrum.
Blessed with a rich voice, the artiste's technique in rendition of aroha, avaroha and modulation in tristayi sanchari with rhythmical patterns was appreciable. One can expect more professionalism from the artiste in the days to come.
The rare raga Vanaspati ("Periyachakama Mata" of Tyagaraja ) that followed another uncommon composition "Sri Narada" in Kanada with creative svarakalpna and ragabhava reflected the talent of the artiste. Impeccable rendition of "Marivere Dikkevaru" (Lathangi) and "Marivere Dikkevaramma" (Anandabhairavi) by Shyama Shastri and Patnam Subramanya Iyer in different talagathi (Kanda and Misra Chapu ) was brilliantly performed.
The highlight of the concert was Mohana ("Ra Ra Rajiva Lochana Rama" of Mysore Vasudeva Charya) with its symmetrical tetrochords and remarkable alapana (it is known that the scale of this raga in found even in the traditional music of Japan, China and Sweden) with grace and agility.
Vidwan H.K. Narasimhamurthy's violin filled the gap of sublimity in ragabhava that was missing in vocal rendition. Vidwan Sudarshan gave fascinating rhythmical support with his soft and impressive gathi bedas on mridanga.
Vocal duet concert under the banner of Sri Tyagaraja Sangeetha Sabha by the upcoming artistes H.M. Sindhu and Shubha was an occasion to know the potential talents of the city.
Fine spirit
Refined and sharp tonal melody needed adequate experience of concert, but the spirit was exhilarating. Performance of rare and popular compositions such as Dixitar's "Angaraka Masrayamyaham" (Suruti), "Paramapavana Rama" (Purvi Kalyani) "Sangita Gnanamu" (Dhanyasi), "Entha Neene Varnimputhu" (Mukhari) were well rendered with dexterity.
Neraval of charana sahitya "Kanakambharadara" and svarakalpana in raga Purvi Kalyani by Shubha and delineation of the main raga Bilahari ("Marasada Manasa" of Swathi Tirunal) by Sindhu were notable.
B.S.S. RAO
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