The emphasis was on diction
SVK
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Pantula Rama can go places if the focus is turned on depth.
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In her concert on Bahula Panchami day under the auspices of Sri Thyagaraja Seva Samiti, Pantula Rama conveyed manodharma with effortless ease, helped by a felicitous voice. While her musical mind was far away from clichés, her raga delineation had depth.
Being an Andhra vidushi, a favourable feature of Pantula's concert was her emphasis on the clarity of the saint-composer's sahitya. With this advantage she could have given priority to the spiritual content of the songs too instead of confining herself to the sangita aspect.
Her speed-oriented vocal technique accounted for the ultra-smooth musical expression. The concert, however, did not rise to great heights because the format demands subtle and aesthetic modulations.
Pleasant and impressive
Opting for pleasantness, in Pantula Rama's view, seemed enough to make the recital impressive.
The alapana of Huseni (`Rama Ninne Namminaanu'), Malayamarutham (`Manasa Etulorthune'), Kapi (`Nee Valla Guna Doshamemi') and Kalyani (`Karu Velpulu') were just a collection of processed sancharas and the rendition of kirtanas was prosaic mainly because there was not an introspective element in it.
The Kapi elaboration contained some flashy phrases, few and far between.
The Kalyani picture was mainly an exhibition of vocal virtuosity in fast-track movement. Pantula clothed the whole recital in an attractive garb. Matching her gifted voice and talent to depth will enable her to provide concert satisfaction to the rasikas.
Pantula Rama was well supported by her husband M.S.N. Murthy on the violin. There was therefore perfect understanding and anticipation. His Kapi effort was lyrical.
Energetic and vivifying, J. Vaidyanathan's percussive support on the mridangam was emphatic.
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