Lyrical, sensitive
SVK
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The solo violin concert Charumathi Raghuraman presented, reflected her talent.
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Charumathi Raghuraman
It is rigorous practice in the footsteps of an eminent guru that lifts music to a classical level. And if the artiste, in this case a violinist, is endowed with creativity, the exposition gains in sensitivity. Such an artiste is young Charumathi Raghuraman (disciple of T.N.Krishnan).
In her solo violin concert under the auspices Nada Inbam, the alapanas and songs she presented were a reflection of the dimensions of her talent.
It also indicated that she was aware of the truth that Tyagaraja kritis give a performance dignity and make sure its success.
Clear and precise
The recital started off very well with the Kanada raga Ata tala varnam, "Nera Nammithi" and the clarity and crispness that marked this song were present in every item she played thereafter. "Raghu Nayaka" (Hamsadwani) and "Nenendu" (Karnataka Behag) provided the necessary sukham atmosphere.
The short Mayamalavagowla alapana was a picture of delicious sound pattern clothed in sanchara images. The kirtana, "Meru Samaana," made a deep impression on the minds of rasikas.
"Sarasa Saamadaana" (Kapi Narayani) and "Niravadi Sukhada" (Ravi Chandrika) were rendered in copybook style.
It was the melodic phrasings of Ananda Bhairavi that lyrically graced the charming face of the raga. The vinyasa was remarkable for the ease with which Charumati framed it with classical pidis. "Marivere" was in harmony with the raga elaboration.
In contrast, the portrait of Kharaharapriya was daubed with racy, flashy sancharas particularly in the tara sthayi so much so, its shades of elegance and the intrinsic flavour failed to surface.
A measured pace would have made it more substantial. The kirtana was "Chakkani Raja Marga."
The concert, on the whole, indicated that Charumathi has a bright future.
B. Ganapatiraman (mridangam) and Swaminathan (ghatam) added rhythmic grace to the recital.
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