Lacklustre performance
T.K.GANAPATHY
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Girish's style, under the aegis of Rajalakshmi Fine Arts, failed to create sukham.
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Photo: K. Siva Saravanan.
Girish.
Girish is a young vocalist brought up under the tutelage of the Brindamma School of Music. Despite his enviable voice ideally suited for classical Carnatic concerts, his recent singing style under the aegis of Rajalakshmi Fine Arts, Coimbatore, failed to create sukham in music.
Though he has honed his voice well, while negotiating the passages in the middle and upper reaches, discordant notes were aplenty spoiling his overall presentation that evening.
Girish got off to a brisk start with the Sahana varnam, `Karunimpa' in vilamba kaalam and durita kaalam followed by Tyagaraja's `Tulasidala' (Mayamalavagowla), with niraval and swaras.
Redeeming feature
`Maayamma' in Ahiri was presented with bhava. Though there were no acrobatic streaks and articulation of sangatis in the raga alapanas of Begada for the kriti, `Sri Tyagaraya Namaste' and Kalyani for the song, `Nidhi Chaala Sukhama,' the lacklustre renderings were disappointing.
The absence of sancharas failed to create a contemplative mood for the listeners. His pauses in between the swaras following the niraval in the Kalyani composition revealed his inadequate homework. The other items on his musical agenda were, `Janaki Ramana' (Suddhaseemanthini), `Chinna Naade' (Kalanidhi), `Saaramaina' in Behaag, a Tamil padam and a javali in Khamas.
The only redeeming feature of the recital was the violin accompaniment of Sreenivasa Rao. His solo versions of Kalyani, Sankarabharanam and swara repartees had sparks of originality. Percussive support provided by T.K.Murty on the mridangam and Athreya on the kanjira were marked by finesse.
Girish needs more practice in gamakas to define the ragas and make a reasonably successful concert.
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