An evening of pleasing music
B.R.C. IYENGAR
|
Kamala Ramani's rendition was meritorious without needless histrionics.
|
Kamala is a seasoned artiste, both as a performer and a guru and one who has carried the purity and chastity of tradition and classicism in music
IN CONCERT Kamala Ramani at the performance.
Sri Chandrasekharendra Sangeetha Educational Society (SCSES), which conducts an annual music festival every year on a grand scale, has chosen to include more concerts during the year. The society has planned to conduct concerts every quarter to provide more opportunities to artistes.
Laudable rendition
The first of such concerts was by Kamala Ramani last week. Kamala is a seasoned artiste, both as a performer and a guru and one of the few contemporary musicians who has carried the purity and chastity of tradition and classicism in music. In her singing there is expressiveness, suppleness, elegance and love of delicate detail but yet, there is sober simplicity of structural forms. That by itself is classic form of utterance. This helps her to keep away from histrionic exhibition. The plan has not only the substantial merit of comprehension, perspicuity, and precision, but that the language of it is inconspicuously excellent. In essence, she is different from most present day singers.
The command she has on the facade of sruti prevails strong and striking. Her vast vision of raga helps her analyse the aspect in attractive pastel shades, both in depth and width; in addition her confidence to unravel a difficult thesis turns out to be effortless. The concert had all the elements of a full-fledged and engaging event and the three-hour programme was relished by every rasika. Choice items and a range of thalas kept the tempo.
Commencing with the begada varnam, Kamala sang the popular composition of Swathi Thirunal, deva deva, in mayamalavagowla. A short alapana of the raga abhogi led to nannubrova nikintha thamasama followed by a set of crisp swarakalpana. Lathangi raga was rather sketchy but the krithi, mariveredikkevvaru in khanda chapu added colour. Srishankara guruivaram in nagaswaravali was the ideal choice thereafter.
The highlight of the concert was thodi. The raga, however good, fell short of fineness. The krithi kaddannavariki kaddu had all the embellishments and trimmings and the neraval and swarakalpana stayed unfaltering. Viewed holistically, it was palpable that the presentation was the result of relentless- and may even be excessive trial of the art as a whole, and the programme, in particular. Ideas were therefore crystallised and not free for manipulation. In that sense inventiveness looked rather austere. Young Thyagaraju who accompanied on the violin was enthusiastic and contributed his might. Being exposed more these days, he is attaining greater confidence with intellectual eagerness for new ideas and is bound to prove a good violinist in times to come. Kapa Srinivasa Rao on the mridangam extended a fine support and his sarwalaghu playing in tune with the kritis that were rendered was admirable.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
