Sensitive to sahitya's beauty
That Vasundhara Rajagopal had a feel for the beauty of the song was evident from her clear enunciation.
APPEALING VOICE: Vasundhara Rajagopal.
Music shaped by smoothness of exposition was the characteristic feature of Vasundhara Rajagopal's performance under the auspices of the TTD Information Centre. Feel for the beauty of songs was reflected in the clear enunciation of the sahitya. There was calmness beneath the softened use of her appealing voice. Her manodharma and expression in harmonious precision helped her connect her subjective vision of raga alapana to objective presentation.
When Vasundhara Rajagopal took up Natakapriya (`Iti-Samayamu') for elaboration, the concert took an upward turn. The alapana sketch was fluent clearly defining the salient contours of the raga, flavoured with tonal felicity. The kirtana was presented with a classical touch.
On similar lines were the alapanas of Puri Kalyani (`Padmavathy-Ramanam,' an Oothukadu Venkatakavi composition) and Saveri the main item (`Tulasi-Jagat-Janani'). The Saveri alapana was a series of enchanting lyrical utterances. The bhava-filled song was handled with good emotional backing.
The other items included `Kanchadalayadaakshi' (Kamalamanohari) `Panchashat-Roopini' (Devagandharam). On the whole it was a first-rate kutcheri.
V. Sanjeev was the violinist. If his solo responses were well laid out, it was a good measure of how Vasundhara Rajagopal transmitted her mindset to the accompanist. Thanjavur Kumar (mridangam) and Madippakkam Murali (ghatam) displayed their obvious happiness in extending support to the recital.
The kutcheri of Vijayalakshmi Subramanian was meticulously structured with many songs. The first few of them `Pavanaathaja-Aagachcha' (Nattai) `Laavanya-Rama' (Poornashadjam) `Maatangi-Sri-Raja Rajeswari' (Rama Manohari) `Sivakamasundari' (Mukhari) served as a prelude to a full-blooded Todi (`Ninne-Namminaanu'). Her Devagandhari delineation before the song "Sarade-veena-vadana" was plaintive in content.
The Todi kirtana and neraval were uplifting well supported by the violinist M. A. Krishnaswamy and mridangist J. Balaji. The tradition in Carnatic music was well preserved.
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