Breathing life into Ragam-Tanam-Pallavi
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A special focus on RTP, enhanced the `pallavi rendition' organised by Nada Bharati.
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Rendition of Ragam-Tanam-Pallavi seems to be under a threat of extinction, but for the efforts of some organisations that are trying to groom fresh talent. Nada Bharathi is one of the organisations that is trying to do its bit. A few days back, it tied up with Thyagaraya Gana Sabha for a festival of Pallavi singing at the Sabha's premises.
The festival took off with the vocal recital by Duddu Radhika, with Dinakar on violin and Kapa Srinivasarao on mridangam. Radhika rendered Kalyani Ata Thala varnam. Raghunayaka in Hamsadhwani, Nanubrova in Abhogi, Abhayambike in Kedaragowla of Deekshitar and Pantuvarali raga essay with Siva Siva Siva Yanarada, before she went for Ragam, Tanam and Pallavi in Kambhoji. Srividya Janakiraman is a bright singer, trained by her father Gopalakrishnan and grandfather Kollegal Subrahmanyam. In the company of Janakiraman on violin and Ramachandran on mridangam, she presented her concert on the second day. Ata thala varnam in Nata opened Srividya's show. Srimahaganapati in Gowla and a rare piece from Syama Sastri `Devi Brova' in Chintamani. After Sabhapatiki in Abhogi, Atukaaraadani in Manoranjani, Ekambranatham Bhaje in Poorvi Kalyani the major attraction Ragam-Tanam-Pallavi in Thodi was impressive.
R. Geetha is one of the best vocalists of this generation. She is the student of Dwaram Satyanarayana Rao. She is already an A-grade artiste on AIR. She sang Sankarabharana Atatala Varnam. After rendering Valaji for Jalandhara the swaram was the attraction. She took up Sahana as her pallavi raga. The pallavi was presented in difficult Tisra Jhampe. Ramesh Pai on violin and Burra Sriram on mridangam lent good support. Then it was turn of another notable talent P.V. Subba Rao, a rare male voice in a fest dominated by women singers. He opened with Kanada Ata Tala Varnam. He is blessed with a melodious voice and a sense of beauty.
The Nagaswaravali piece, Sri Pathe was quite pleasant and the swara kalpana in it was an attraction. Begada was the main essay for Samiki Sari and then Kharaharapriya as major delineation shaped up well. When it came to Ragam-Tanam-Pallavi, Kambhoji was his choice. The Pallavi was in Khandajati Madhya laya in Tisra Nada. He sang it extremely well with masterly touch, displaying his potential. He also rendered a beautiful Kasturi Tilakam in ragamalika as Virutham and followed it with a fine kirtana - Venkatadri Nilaye.
G. S.
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