Recital sans ostentatious display
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Subhashini 's rendition reflected a scholarly effort.
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A scholarly effort exploring and expounding some of the fine nuances of the Carnatic music and creating a transcendent mood in the expression of manodharma, the vocal recital by Subhashini Parthasarathy of Chennai in Kalabharathi, Visakhapatnam last week delighted all alike.
Featured by Visakha Music and Dance Academy in the company of veteran violinist Komanduri Krishnamachari and AIR staffer Dhanwada Dharma Rao on mridangam, she started her recital with the Ata taala varnam in Kanada, then sang Sobhillusaptaswara (Jaganmohini) and Okaparikokapari of Annamayya set to exquisite music in Kharaharapriya by Nedunuri and concluded with swaram in the two speeds. The session, which sounded more like a mere warming up exercise thus far, suddenly picked up brisk tempo. Her aalapana of Varali in detail surfacing the fine attributes of the Gandhara Madhyamas in well- knit phraseology in appropriate combination with both the vaadi and samvaadi swaras, materialised an aesthetic picture of the ghanaraaga. Her rendering of Etijanmamidi of Thyagaraja turned out to be a vibrant exercise and carried the mood bordering realms of ecstacy. Rendering Idinyaayamaa of Patnam Subrahmanya Iyer (Malavi) followed by Ramabhadraraara of Ramadasu set to captivating music in Anandabhairavi next with fervour, she sustained the tempo. Her next piece, an expansive expatiation of Evarimaata of Thyagaraja (Kambhoji) kept with the mood. Dharma Rao with his lilting beat on the mridangam, Krishnamachari going aesthetic in his turns in raga and swaram contributed to the grandeur.
A.R.S.
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