Bhava comes to the fore
LALITHAA KRISHNAN
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Through imaginative phrasings Suguna Purushottaman captured the mood.
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Suguna Purushottaman.
Graciously consenting to perform in lieu of Suguna Varadachari, Suguna Purushottaman presented a vocal recital that was much appreciated, at the Karpaga Vinayaka temple at Raja Annamalaipuram.
A style moulded by years of hard-won experience and sadhana distinguished the artiste's renditions.
Imaginative phrasing
The mood of the evening found voice as the artiste frequently resorted to neraval in several compositions, as a device to highlight bhava in the lyric through imaginative phrasing. This was particularly evident in the lines ``Jagam muzhudum" in the Papanasam Sivan composition, ``Ganapathiye" (Kharaharapriya) and ``Thumburu naada" in the krithi, ``Lambodara' (Khambodi).
The Shanmukhapriya alapana was a fertile tract for manodharma. Fresh, just-mixed colours awaited the attentive listener at every turn.
Harikesanallur Muthaiah Bhagavathar's ``Valli nayaka" featured intriguing usage of neraval at ``Thalli thandri," so that when the melkala kalpanaswaras followed, they seemed a seamless extension of the neraval. A succession of stand-alone krithis held their own by virtue of the degree of involvement with which they were sung.
In the main piece, Maha Vaidyanatha Iyer's ``Muthukumaraiyyane" in Sankarabharanam, the alapana derived strength from continuity of concept and the fluid progression of freewheeling passages.
The violinist Akkarai Subbulakshmi impressed with her precise responses in kalpanaswara and neraval.
In the Shanmukhapriya and Sankarabharanam essays, she sought but could not truly find her muse.
However, both ragas were structured with diligence and yielded vivid imagery in parts.
J.Balaji's mridangam accompaniment was marked by perception and clarity.
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