Forever fresh and regaling
MEERA SHIRODKAR
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Kishori Amonkar's emotion-soaked concert the other day in New Delhi left listeners asking for more.
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MESMERISING! Kishori Amonkar at the concert.
Recently the audience at the Sri Satya Sai International Centre was regaled by a rich performance by the legendary vocalist Kishori Amonkar. Organised by the Samagam and Bhilwara group, the programme truly lived up to its promise. She rendered a beautiful performance that left all spellbound.
A slightly delayed start and rather lengthy intermission did little to dampen the enthusiasm of her admirers and followers, who enjoyed the performance, which stretched late into the night.
The veteran opened her recital with raga Yaman Kalyan with a bada khayal set in Vilambit Ek tala.
The traditional bandish "Mo mann lagan lagi..." mesmerised everyone.
The traditional and rich alap and bol alap (vistaar) extensions with minute swar play in mandra and madhya saptaks (lower and middle octaves) had everyone swaying.
She had able vocal accompaniment from her student Nandini Bedekar, with Gurinder on the tanpura. Choosing to take a violinist, Milind Raykar, as a sangatkaar (accompanist) added refreshing charm to the recital. As did the unfailing notes of the harmonium by Suyog Kundalkar, well supported by Pradeep Dikshit on the tabla.
She interacted freely and interspersed her recital with her observations and comments. Though she was critical of the way the audience moved in and out during her singing, her remark,"classical music is the development of swaras from the start to the end," was profound and relevant.
Different approach
The vilambit (slow) khayal was followed by a soulful rendition of the drut khayal bandish "Sakhi ayri aali piya bin.... " The movement of the bandish set in Addha tala was slower and different from the usual approach towards faster tempo or drut gayaki. A lively tarana, "Tana derena derena tadare dani..." marked the interval.
She resumed with raga Bageshri, changing the mood and lilt of the evening. Her slow tempo bandish "Kaun gat bhayi" flowered and slowly meandered picturesquely through each note mellifluously. The dreamlike aura then flowered into a bouquet of exquisite taans, gamak and laykaari of the highest order. Her creative best was the "Aeri e mein kaise ghar jaoon", which was romantic and nostalgic, very reminiscent of her tutelage under the great Moghubai Kurdikar, her mother and guru.
The taste and euphoria had barely been absorbed when in conclusion she sang the evergreen "Babul Mora" immortalised as such by the great K.L. Sehgal. This was very different and may have surprised the standard listener. An attempt with a freshened approach, with the idea to stay away from the stereotyped rendering. This was a Bhairavi to hold close to one's heart. The thumri was emotive and bespoke nostalgia and karuna. Although the laggi or continuous filler play of tabla accompaniment for this piece could have been better, Kishoriji held sway with her high notes delineating the distance and pathos of parting.
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