Striking high notes of haunting delight
A. RAMALINGA SASTRY
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Abir Hussain's sarod recital and Arun Bhaduri's vocal concert marked the inaugural of Visakha's Sangeet Academy.
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IN CONTROL Pandit Arun Bhaduri along with Pandit Samara Sinha on tabla on stage.
A sarod recital for one hour by young Abir Hussain followed by a superb concert by vocal maestro Pandit Arun Badhuri from Kolkata marked the inaugural of the recently constituted Visakha Sangeet Academy in Kalabharathi last Saturday.
A scholar of ITC Sangeet Research Academy (Kolkata), Abir played a composition in raag Jhanjhuti in the three tempos in Ek and Teental with embellishments of aalap, jhal and sargam. Pandit Samara Sinha, also from Kolkata, with his sparkling and dexterous handling of the instrument, astutely actuated convivial bholes and seemed to be leading Abir to go highly promising and thus contributed grandeur.
Derivation of a sublime blend of expression of `naada', `laya' and `sahityabhavas', astute accentuation of vibrant melody with sobriety exploiting the inherent power of resonant sonority and range in the voice to the hilt and discerning exposition of sastra marked the vocal recital next. Eruditely and sensitively accompanied by the wizardly tabla player Samara Sinha, Arun struck high notes of haunting delight from the word go starting with a chota khayal (Bhagsri), then rendering bhajans in Desh and Bhairav till he concluded singing Bengali Lok Geet including compositions of the renowned lyricist Gnanaprakash Ghosh. Founder members of the Academy Meeta Sarkar and Mohuva Nandi while provided the drone on the tambura, S.N. Sinha knowledgeably compeered the programme and Suresh Nandi proposed a vote of thanks.
The previous evening, Kalabharathi witnessed a grand nagaswaram recital by G. Narayana along with his wife Anjali on clarinet, Vadali Narasimhulu and M. Mallikarjuna Rao on dolu.
Tuneful rendering in perfect unison with the drone on the tambura and beat on the dolu marked the recital. The highlight was the expansive expatiation of the Kharaharapriya kriti, Prakkalanilabadi and the vibrant thani that followed on dolu.
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