Lacking in aesthetics
T.K.GANAPATHY
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Omanakutty's recital failed to evoke the meditative aspect.
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A musician should aim at aesthetic refinement through meticulous and careful application of gana naya both in raga expositions and sahitya articulation. Unbridled speed tends to obscure the quality of music and thereby its sukham. Though well-aligned to sruti, the vocal recital of Omanakutty under the aegis of Eppadi Paadinaro in Ramar Koil failed to evoke the dignity, grace and meditative aspect of music in a quiet ambience.
Mercurial voice
Endowed with a mercurial voice, the vocalist's vibrant start of the recital with the Navaragamalika varnam, "Valachi" was a spirited rendition and the following "Ganapathi nee arulnidhiye" in Gopikathilak with swaras was a picture of melody.
Her raga delineation of Kharaharapriya for the kriti, "Senthilaandavan" with mellow prayogas etched the ragaswaroopa with bhava. Her Begada alapana was effortless in the tharasthayi, the niraval and roller-coaster swaras for the kriti "Naadopasana," were marked by tonal outbursts. Her songs included "Evarikai" (Devamanohari ), "Paramapaavana" (Hamsanadham), "Eppadi paadinaro" and "Radha samedha Krishna." The concluding Bhoopalam thillana of Swati Thirunal was crisp. Anirup's fluent violin accompaniment kept pace with the vocalist's presentations of the alapanas and swara sallies. Satishkumar (mridangam) and Anilkumar (ghatam ) handled the percussive segment with loud and forceful beats.
The unnecessary intrusion into the tani avartanam by an official of the sabha was the height of impropriety. In sum, the vocal recital was not soothing for the senses.
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