It is not just a passage of time
SVK
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Performing maturity comes with painstaking consolidation at every stage.
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Performing for Bahulapanchami gives the musician an advantage. Filled with Tyagaraja's compositions, the recital naturally gets a lift. But then much depends on the selection of the items to suit the competence of the performer.
Some, for instance, bite off more than they can chew and it shows. Aspirants should realise that consolidation at every stage of their progress is vital. A performance, in essence, is not just a passage of time.
The kutcheri of Charulata Mani, on these counts, revealed that she has a long way to go in gaining performing maturity. There was relentless forcefulness in her style so much so that the interpretation of raga vistaras and kirtanas had a fragile veneer of depth and creativity.
The prime task for her at this stage would be to keep intact consistency aimed at developing sensitivity.
The songs she rendered were well-learnt. In her drive to impress she forgot the charanam of the Gowla pancharatnam `Satulaku-konnaalu.'
Emotion lacking
The swara and sahitya were correct but did not quite convey the feelings built into the words.
With a brief outline of Atana, Charulatha rendered `Amma-Dharmasamvardhini.'
The Pantuvarali alapana meandered and was listless without focussing on the raga's essentials.
The kirtana `Vadera' and niraval were sufficient to indicate that she has talent but it has to be properly channelled. The main item was Sankarabharanam (`Sundareswaruni').
The vistara had many well recognised sancharas, but there was no planned design in its course. The strain in the top octave was unnecessary. To advance in her career, Charulatha has to pay attention to the three `Vs' - voice, values and vision.'
The accompanists were Anayampatti Venkatasubramaniam (violin) who, in his solo versions, sailed in the same boat and B. Ganapatiram (mridangam).
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