Sensitive on simple lines
T. K. GANAPATHY
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Fine raga delineation and bhava were the highlights of Renganatha Sharma's recital.
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Renganatha Sharma. Photo: S. Siva Saravanan.
Etching the beauty of the ragas with minimal phrasings is the hallmark of a well-groomed artiste. His capacity to create musical visions and ability to link the compositions to their bhava without flamboyance bestow melody and sukhanubhavam on a well-planned concert. These features together with a sensitivity of expression characterised the wholesome kutcheri of Renganatha Sharma featured under the auspices of Alapana in Coimbatore.
The breezy start of the Viribhoni varnam (Bhairavi ) in vilamba and durita kaalams followed by "Jaya Jaya Swamin" (Naattai) sprinkled with swaras and Dikshitar's "Suryamoorthe" (Sowrashtram) rendered with an aesthetic passion were fulfilling in terms of musical substance in the sampradaya tradition. The ragam Ranjani was developed impressively with inputs of rakti prayogas to Swati Tirunal's kriti "Kalaye Deva Devam."
The alapana of Mohanam punctuated with pleasing sancharas in different sthayis, though reflective of his manodharma, had a jarring effect due to swara slippage in the higher octaves. The RTP exercise for the kriti "Nee Paadamule Gati" was a commendable effort and the raga sancharas in Sahana, Hamsanandhi, Sindubhairavi and Kaapi were appealing.
"Esan Kanaka Sabesan" in Begada, "Palukudache" (a rare kriti in Palamanjari) and "Enta Muddo" in Bindumalini were the other items.
T. H. Subramanian showed grace in his bowing. His swara repartees and solo versions of Mohanam and Ranjani proved his mettle. Palladam Ravi (mridangam) and S.V.Subramaniam (kanjira) provided variegated methods of rhythmic patterns in their enjoyable tani.
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