Skilful delineation of ragas
Neyveli Santhanagopalan
Aesthetic sensitivity to the nuances of the ragas in alapanas, deep involvement and integration of sahitya, raga, laya and sruthi characterised the vocal recital of Neyveli Santhanagopalan under the aegis of Rajalakshmi Fine Arts, Coimbatore. Despite his voice deficiency, the effortless ease with which he negotiated the course of ragas skilfully elated the rasikas.
Santhanagopalan's breezy start with the Sahana varnam, ``Karunimpa" in vilamba and durita kaalams followed by ``Kanakaruchira," Varali), ``Sree Varalakshmi" (Sree) embellished with kalpanaswaras and ``Nijamarmamulu" in Umabharanam struck a chord with the audience. The raga alapanas of Charukesi for ``Aadamodi" and Todi for ``Daasarathi" were done in mantarasthayi. The fascinating neraval and swaras for ``Daasarathi" were expressions of his manodharma.
The vocalist's picturesque mapping of the contours of the ghana raga, Saveri for RTP was a blend of gamaka and sangatis raising it to the realm of sublimity. The pallavi too — ``Bhavayami Raghuramam" — was well-rendered. A lilting Dasar padam came as the concluding item. Pakala Ramdas's violin delineations of Charukesi, Todi and Ataana were marked by moderation. The tani of K. V. Prasad (mridangam) and E. M. Subramaniam (ghatam) fluent and rhythmic.
T. K. GANAPATHY
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Thiruvananthapuram
