Rakti element dominates
SVK
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Melody and elegance marked the veena recital of Revathy Krishna.
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Good veena music stirs the finer instincts of the listeners helping them savour sukham in sangita. A good vainika gets absorbed in the aesthetic aura of the notes to provide the rasikas with that experience. It is grace and tranquillity that enable a vainika to scale lyrical heights. It is this kind of veena music that defines the true place of an artiste.
Revathy Krishna's veena concert for the Mylapore Fine Arts Club revealed her deep commitment to the rakti aspects of both ragas and songs. The musical rhythm was meticulously uplifting, a style of presentation wedded to substance.
Sound instinct for melodic exposition found felicitous meettu to match it.
The kutcheri started delightfully with the strains of Sahana.
Dulcet in tone, marked by dignity and a touch of class, her sanchara trajectory was impeccable with the subtle shades of the raga clothed in elegance. The kirtana was "Sri Vatapi Ganapathiye" and her interpretation added to the appeal of the song.
The raga alapana of Ranjani was in tune with the reflective mood of the song "Dunmaarga Chara" which was rendered with great serenity. The other alapana attempts were Suddha Saveri (Thaye Tripura Sundari) and Rishabapriya (Gana Naya desika, a composition of Koteswara Iyer).
A mridangist ought not to play for veena with the same sound level as for a vocalist. Karukurichi Mohanran's exuberance got the better of his sense of restrained accompanying technique. The other percussionists were Adambakkam Shankar (ghatam) and R. Raman (morsing).
Lucid presentation
Singing under the auspices of Tirumala Tirupati Devastanam, Hyderabad Sisters Lalita and Haripriya kept the momentum of the concert going with a series of Tyagaraja kirtanas. The performing pattern was focussed on their heightened ability to present the songs with lucidity without too much extravaganza.
While the items "Raghu Nayaka," (Hamsadwani) "Sudha Maadurya" (Sinduramakrija) and "Orajoopuchu" (Kannada Gowla) were mostly tempo-based, too many sangatis in the kriti "Paramatmudu" (Vagadeeswari) robbed it of its serenity. The bhava of the piece was not well invoked.
The raga alapanas of Pantuvarali (Raghuvara) shared between the sisters and later Madhyamavati (Adiki Sukham) developed by Haripriya were intensely vigorous with a profusion of sancharas in the tara sthayi, a little bit strained. But the plus factor is their adherence to traditional exposition technique.
Usha Rajagopalan was the violinist. She displayed in her solo versions musical instinct with expressive talent.
Mannargudi Subramaniam on the mridangam lent energetic support in the accompaniment of songs and the brief tani was exactly what a tani avartanam ought to be.
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