Perfect foil for each other
B. RAMADEVI
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With Padmavathi sketching the contours of the raga, Jayanthi built the edifice with great imagination.
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Photo: M. Periasamy.
DIFFERENT: Jayanthi Kumaresh (left) and Padmavathi Anantagopalan.
The veena duet by Padmavathi Anantagopalan and Jayanthi Kumaresh at Abhinava Teertha Mandapam at Kothandaramar Koil, Coimbatore, under the auspices of Sri Krishna Sweets ("Eppadi Padinaro'' series) was pleasing as well as uplifting. A sister of Lalgudi G. Jayaraman, Padmavathi displayed simplicity. With just a quick sweep of her fingers, she could make the complete swarupa of a raga materialise. While she presented the strong background for the raga alapana, Jayanthi quickly caught on and built storeys of enchanting imagination. One could feel the influence of S. Balachander in Jayanthi, especially while she played in the manthara sthayi (lower octave). Almost all the kritis chosen were common, but presented in an uncommon way.
Of superior quality
The concert began with a varnam in Nattakkurinji. "Vaathapi Ganapathim Bhajeham'' in Hamsadhwani (Muthuswami Dikshitar) set the mood for a flow of superior quality music. "Seethamma Maayamma'' (Vasantha-Tyagaraja), "Annapoorne Visaalakshi'' (Saama-Dikshitar) and "Brochevaarevare Raghupathe'' (Sriranjani) were presented in their pure form.
Padmavathi's Pantuvarali alapana was scintillating while Jayanthi's Mohanam was magnificent. "Apparama Bhakthi'' and "Raa Raa Raajeevalochana Raama'' received elaborate treatment.
During the neraval and swaraprastharas, Padmavathi exhibited depth and maturity while her niece and disciple, Jayanthi, displayed great virtuosity. The duo glided into ragas such as Sahana, Varali, Abhogi, Begada and Hamsanadham during the swaraprasthara and sailed back to Mohanam with admirable ease.
"Alai Paayuthe Kanna,'' "Chinnanjiru Kiliye Kannamma'' and the tillana featured in the latter part of the concert.
Bangalore Arjun Kumar's mridangam was spirited and sensitive.
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