Flamboyance in full form
SVK
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If T.N. Seshagopalan's accent was on the spectacular, Sanjay breathed life into ragas.
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Photos : K. N. Muralidharan and
CONTRASTING STYLES: T.N.Seshagopalan.
Madurai T.N. Seshagopalan's concert for Carnatica's Bharat Sangeet Utsav was not of a kind that soothes the senses, but one that projected an image of a vibrant frontline artiste. His brighas were not meant to caress but to dazzle.
An artiste, sure of his eminence, requires a soft touch, which simply was not there. His gifted voice provided him a wealth of options, but he preferred to sound spectacular. The kutcheri was constructed on substance, but aired with flamboyant galloping skill.
Seshagopalan is a titan , no doubt and richly deserves the title `Bharat Sangeet Martand' conferred on him on the occasion. He sets a high standard for himself and his voice that evening took up sportingly the challenges of his monarchic manodharma in the alapanas of Nattakurinji (`Koduthu Vaiththa Punniyavaan') and Kalyani (`Sarasija Bhava Jaaye'). Two other ragas, Sahana and Kamas expressed through slokas, were really ear-friendly. Sensitivity was pushed to the background in the concert, an Oothukkadu Venkata Kavi special. It compelled more admiration than affection.
The solo raga versions of violinist M. Chandrasekharan were select sangatis from kritis in each raga strung as an alapana. Guruvayur Dorai (mridangam) and B.S.Purushothaman (kanjira) matched the vocalist with high-decibel accompaniment.
Exaggerated sancharas
Sanjay Subramaniam.
Richness in magnitude and harshness in expression marked the contours of Bhairavi and Kedaragowla alapanas at the hands of Sanjay Subramaniam. High-flown, typically exaggerated sancharas formed the core of the ragas. His powerful expository method and distinctly authentic quality have endeared him to the rasikas. Every phrase was stamped with his imprint.
`Anu Dinamunu' (Begada), `Rama Lokaabhirama' (Bhairavi) `Ennadu Joothuno' (Kalavathi) and `Saraguna Paalimpa' (Kedaragowla) were the kirtanas rendered in the same interpretative mould as the alapanas. The way he breathed life into the ragas and songs set him apart as a notable musician. The heavy burden he laid on his voice provided a measure of fascination.
The solo versions of Bhairavi and Kedaragowla by violinist Varadarajan were sound enough to present an overall vividness of the ragas. There was competence, method and purpose in the sancharas that were satisfying in their own way.
The tani avartanam between Arun Prakash (mridangam) and K.V. Gopalakrishnan (kanjira) was embedded with perceptive laya patterns, stimulating and pleasing to the ear.
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