Fine exposition of Bhairavi
G.SWAMINATHAN
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She chose forceful ragas but Bhairavi took the centrestage.
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Vijayalakshmi Subramaniam.
Vijayalakshmi Subramaniam tried a different format for her recent concert at Hamsadhwani. The forceful ragas such as Thodi, Khambodi and Bhairavi figured in the same concert but the first two were fairly in a lighter way while she concentrated on ragas like Hamir Kalyani and Lalitha. She, however, chose Bhairavi as the central piece.
Vijayalakshmi impressively negotiated the stretchy, long and languorous phrases of Hamir Kalyani and Lalitha where the stress needs to be more on the adaptation of Hindustani style into Carnatic.
Full-throated articulation
The measured quota of akaras and brigas imbued with the full-throated articulation touching the high and low regions of these ragas in the alapana kept the audience interest in tact.
`Parimala Ranganatham' (Hamirkalyani, Dikshitar) and `Nannu Brovu Lalithe' (Lalitha, Syama Sastri), which were also best relished in slow and pensive mode. Vijayalakshmi, at the outset, itself included Thodi through `Thanikaivalar Saravanabhava' after beginning with the Saveri varnam and `Ninnada' in Kannada.
Bhairavi alapana and `Upacharamulanu' went on neatly set track.
Narmada who had commendable knowledge in Hindustani music also contributed her own ingenious input to the raga essays of Hamirkalyani and Lalitha and nevertheless stuck to the traditional form for Bhairavi.
Thanjavur Kumar on mridangam and Nerkundram Sankar on kanjira lent good support.
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