Harmonious rendition
A. SANGAMESWARAN
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Sita Rajan's concert was a perfect blend of innovation and aesthetics.
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BEST OF BOTH STREAMS: Sita Rajan has combinined the aesthetics of Carnatic and Hindustani music.
Creative innovations in perfect harmony with aesthetical sense can elevate an artiste to peaks of excellence and thereby enthuse an audience also. Sita Rajan of Chennai belongs to that particular genre of musicians; as a performer and teacher she has succeeded in both areas.
Absorbing the lessons she learnt from the masters - Semmangudi, Musiri, D.K. Jayaraman, Mukhtha and Bheemsankar Rao - of both Carnatic and Hindustani streams, she has evolved a style to become an accomplished artiste in her own right. Her concert at Nadopasana, Irinjalakuda, was a treat to rasikas, right from the starting varnam (`Eranapai' in Thodi) to the final bhajan (`Visweswara' in Sindhu Bhairavi).
Rapport with the audience
Perhaps, among other plus points, Sita's virtuosity and ability to feel the pulse of an audience may have played a role in her being chosen for the Sangeetha Kala Acharya award of Music Academy, Chennai.
Varnam was followed by `Saraseeruhasana priye' (Natta) and `Ennaganu Rama Bhajana (Panthuvarali). A comprehensive alapana of Mukhari, soaked in the essence of the rakthi raga, was followed by the number `Pahimam Rathnachala nayaka.' The way she delineated the two kritis, both in rendering the sahithya and the pace, was a testimony of her passion for Dikshitar kritis.
The stateliness of her rendition was evident as in between these two slow tempo kritis, she sang three medium tempo kritis - `Marukelara' (Jayanthasree), `Kaa vaa vaa' (Varali) and `Padavini sadbhakthi' (Saalaga Bhairavi). A fine alaapana of Saveri blossomed next and it was tagged on to the rare Syama Sastri kriti `Sreepathimukha.'
R. Swaminathan, who accompanied on the violin, played a neat essay of Saveri and Mukhari. Mahesh Kumar, on the mridangam, played delicately in perfect unison with the flow and pace of the concert.
The fag end of the concert consisted of `Kandaranubhoothi' (Bihak), `Chaliye kunjane' (Brindavana Saranga), `Visweswara' (Sindhubairavi) and a Thillana in Vasantha by Poochi Sreenivasa Iyengar.
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