A sincere attempt
G. SWAMINATHAN
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Experience and practice are bound to take Harish far.
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The younger generation is adept at balancing several things at the same time. Thus, it was not surprising that N. Harish's pursuit of Carnatic music has not come in the way of his pursuing engineering. Harish's voice seems to be at the transition point; his music is fairly mature but his voice is yet to gain weight and volume with the mandatory dash of sugar.
In his vocal recital at the Tirumalai Tirupati Devasthanam, Harish attempted to develop Begada followed by Dharmavati and later Harikhambodi as the main. His sincerity and commitment to classical music were quite evident in these efforts. The vocalist's perception and structure of raga exposition could not be faulted and his open throated articulation deserves to be commended. "Neevera Kula Dhanamu'' (Tyagaraja) and "Bhajana Seyarada'' (Vasudevachar) were noteworthy.
A challenge
Harikhambodi is rather tough and it takes experience to tackle it. Harish did make a good try and rendered the famous "Entara Nitana'' (Tyagaraja) with neraval and swaras at the second charanam "Aagamogthamadu.'' But he could not touch the high points of the raga.
Harish's kalpanaswara lines were delivered with confidence in Lalitha ("Hiranmayeem Lakshmim" by Dikshitar), Dharmavati and Harikhambodi.
"Ganamurthey'' in Ganamurthy and "Mahalakshmi'' in Madhava Manohari were insertions that came in between.
Gokul, the violinist, was commendably comfortable with his strings and bow. His raga responses were cohesive while his kalpanaswaras calculative. Arjun Ganesh on the mridangam padded the programme in just the right measure.
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