Feat of finesse
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Sushma Bajpeyi rendered a commendable performance at New Delhi's India Habitat Centre this past week even as Delhiites witnessed a pleasing orchestral ensemble from the students of Kalashram.
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The India Habitat Centre has presented a host of talented artistes over the years. There was yet another vocal concert this past week that evoked favourable response from the discerning audience. The young artiste was Sushma Bajpeyi, who sang with much aplomb. Initiated into Hindustani classical music by Pandit Lakshmi Narayan Tiwari, Sushma was groomed further by Pandit Kashinath Bodas and Veena Sahasrabuddhe, while she received light classical training from Pandit Chhannu Lal Mishra and Ashwini Bhide. An approved artiste of All India Radio and Doordarshan, Sushma has performed in many respected platforms.
Aesthetic approach
Her alap, barhat and bahelava in the opening raga Gorakh Kalyan were rendered with good aesthetic approach in a methodical manner, but surprisingly, she wound up the slow tempo bara khayal too soon and rushed for the chhota khayal "Sajan bin baawari", a composition of Ram-Rang in Teen tala, followed by a tarana set to drut Ek tala. Although she has a well-groomed tuneful voice and the sargams and taans were varied, neat and colourful, what is missing in her main raga was repose, the `chaindaari'.
She chose Shyam Kalyan for her second raga, again from the Kalyan thaat, which could not provide a welcome contrast. The two compositions presented in this raga were set to Rupak and Teen tala respectively. Her Shyam Kalyan at times had the aroma of the noontime melody Shuddha Sarang with accent on Nishad.She presented a tarana in raga Hamir, set to the intricate Ada Chau tala next, which was a beautiful composition of Balwant Rai Bhatt of Banaras, before rendering a gat-bhaav ki thumri in Mishra Bilawal, composed by Chhannu Lal Mishra. The treatment of this thumri with the dugun and the tihai bore the stamp of her guru Chhannu Maharaj. She sanga Hori taught by her other teacher Ashwini Bhide, "Sakal Brij dhoom machi" switching over to Madhyam, before ending her concert with a Kabir bhajan in raga Bhairavi. Sushma's musical temperament and the neat enunciation of the lyrical text were commendable, but the performance would have been better if it had been restricted to fewer ragas.
MANJARI SINHA
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