Carries old-world charm
LALITHAA KRISHNAN
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Bhairavi and Malavi kindled nostalgia while Vijayaraghavan was comfortable with his music.
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DEVOID OF FRILLS: Bhairavi and Malavi.
In their vocal recital for Naada Inbam, Bhairavi and Malavi kindled a spark of nostalgia as much by their selection of songs as by the manner of rendition. With an interesting line-up of compositions, the emphasis was on simple wholesome fare, devoid of frills.
Kalpanaswaras for the Kedaragowla composition were appealing on account of place — appropriate gamakas in which reposed raga bhava. ``Odi Vandaen'' in Malayamarutham was an attractive kriti embellished with soft graces.
Elaborate Todi
The sisters took turns in elaborating the Todi alapana. The extended halt at the tara sthayi shadja with madhyamakala phrasing was very much in keeping with the mood leading up to it. Brigas were kept to a minimum, as there was no attempt to dazzle.
K. Vijayaraghavan
Oothukadu Venkatasubbaiyer's "Thaye Yashodha'' achieved bhava through apt modulation. "Kaalinil Salangai Konja,'' the customary choice for neraval, is a word-filled line that could have been exploited to greater effect.
The kizhkala swaras were savoured at leisure and in the melkala swaras, the build-up leading to the kuraippu was weighty with gamakas.
The sisters added sheen to the tukkada section with pieces like "Aasai Mugam'' (Jonpuri), "Kannan Idam'' and Lalgudi Jayaraman's tillana in Madhuvanti, while the viruttam preceding "Muralidhara'' (Maand) was evocative.
Kovai Chandran and Kallidaikurichi Sivakumar enthused by their capable support.
Relaxed approach
Singing in the Gokulashtami series at Sri Krishna Gana Sabha, K. Vijayaraghavan's relaxed approach conveyed the impression of an artiste comfortable with his music.
The solfa passages had a natural gait free of pre-determined patterns for "Sathguru Swamiki'' in Ritigowla. The Pantuvarali alapana showcased a predominance of medium to fast phrases softened by jarus, while the halt at the madhya sthayi nishada accompanied by panchama-varja swaras lent a distinct touch of colour.
Tyagaraja's "Raghuvara," featuring clipped delivery of sangatis aimed for pace without aggression, with adroit handling of neraval and swaraprasthara at "Manasuna."
Khambodi, the main raga, was ripe for the picking, with mellow prayogas defining raga swaroopa.
Sancharas, guided by a sense of purpose and direction, reached their destination after an unhurried exploration of promising possibilities.
The madhya sthayi was developed with assurance, the mood effectively sustained by the violinist, making for a smooth passage into Tyagaraja's "O Rangasayee."
B. Raghavendra Rao was ever receptive to variations in texture and nuance, while on the mridangam, Thanjavur Ramados's reassuring presence complemented the vocalist's style with deft strokes.
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