Best classical tradition
LALITHAA KRISHNAN
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If Rama Ravi's vocal recital was typically chaste, Rajeswari Padmanabhan's veena was a purist's dream.
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SANS SUPERFLUITIES: Rama Ravi
There is a reassuring solidity to Rama Ravi's music which speaks for having imbibed from the best classical traditions in terms of approach, interpretation and patanthara. In her vocal recital for Nadopasana, the artiste's daughter, Nandhita Ravi provided vocal support.
The raga Mohanam made a gracious, dignified entry, gaining in strength and stature in the madhyasthayi sancharas, with Nandhita taking over from the tarasthayi shadja in smooth transition, her ideas in consonance with the main artiste's.
In her turn, the violinist, Usha Rajagopal added another potent ingredient, namely, charm to her interpretation - those sudden sparks of impulse that draw involuntary appreciation. Kalpanaswaras adopting an easy sarvalaghu gait flowered in two speeds in Muthuswami Dikshitar's `Kadambaripriyayai.'
Papanasam Sivan's `Kamala Padamalarinai' in Harikamboji was fortified with sangathis sustained by long karvais at the tara sthayi shadja. Another Muthuswami Dikshitar kriti `Ranganayakam' (Nayaki) provided an effective contrast. Emphatic articulation lent force to Swati Tirunal's `Padmanabha Pahi.'
There were no superfluous frills to clutter the spare silhouette of Kalyani, a delineation that spelt relevance and essence all the way. The initial elaboration studded with rakthi-laden prayogas by the main artiste was carried forward by Nanditha. Usha Rajagopal opted to explore more adventurous shades on her palette. Tyagaraja's `Rama Nee Vaadu' supported niraval and swaras rich in detail.
Thanjavur Subramaniam (mridangam) and
K.V.Gopalakrishnan (kanjira) provided strong support and an interesting thani.
Luminous recital
Torchbearer of a renowned bani known as much for its subtlety as its brilliance and perpetuated by the Karaikkudi Sambasiva Iyer parampara, Rajeswari Padmanabhan presented a veena recital that rippled with luminosity.
A wholesome Kharaharapriya accentuated by Tyagaraja's `Rama Nee Samaanamevaru' whetted one's appetite. The niraval at `Paluku Paluku' was heavy with seasoned gamakas, with the kalpanaswaras highlighting the dhaivatha being meditative and forceful by turns - a purist's dream.
Rajeswari Padmanabhan.
Usually, the rasika can only hope for a chance encounter with Sucharithra (melakartha raga 67). In this instance, the artiste ensured that this particular encounter ripened into a rewarding acquaintance through her attention to detail when delving into the intricacies of the raga and the composition `Kamakoti.'
The artiste kept the flag flying high with the Natakurinji ragam-tanam-pallavi, where the relaxed fluency of the alapana was followed by a vibrant ragamalika tanam and a pallavi in Adi tala (2-kalai).
Sometimes, popular melodies in the tukkada segment run the risk of coming across as routine renditions.
Not so, here. `Enna Thavam' lent itself to a lovely interpretation of Kapi, each line of sahitya infused with feeling.
It was a delight to revel in the resonant, natural tone of the veena, (sans the tinny stridence of contact mikes) an aspect rapidly becoming a rarity these days. The artiste singing the composition while playing was another welcome throwback to the days when it was the norm rather than the exception.
Thrissur Narendran (mridangam) and Adambakkam Shankar (ghatam) played with great understanding, their gentle, understated style in perfect consonance with the delicate flavour of the main artiste's music.
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