Lucid expressions
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The Ramanavami music season is still on, providing a fine treat for connoisseurs
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Another promising and talented vocal duet by K.V. Krishnaprasad and Vinay S.R. under the aegis of Sri Ramaseva Mandali, N.R. Colony, was of great interest. The zeal and involvement of the youthful singers was rewarding. I could perceive in them, the imprint of their veteran vocalist R.K. Padmanabha's musical style and substance.
This was particularly conspicuous in the ragaalapanas, tanas and swaraprastaras. Vinay would do well with some more restraint and precision. With seasoned S. Yashaswi (violin), B.K. Chandramowli (mridanga) and Purushottam as their successful accompanists, Krishnaprasad and Vinay demonstrated their compatibility in singing Kedaragowla varna. Vadiraja's "Gajamukhane Vandisuve" (Mayamalavagowla) and Reetigowla (for a Purandaradasa pada "Kathaa Shravana Maado") pleased the ears. The piece in Kapi ("Meevalla Gunadosha") was fine but this rasika was disappointed with the missing of kalpanaswaras. The missing link was provided when a crisp and sarvalaghu patterned swaravinyasa for "Enta nerchina" (Shuddha Dhanyasi) appeared. Singing of Anandbhairavi (for Vadiraja's "Enna Manada Donka") after Reetigowla could have been avoided.
The high watermark of the recital was reached in the Keeravani raga, tana and pallavi. There was clarity in their ideas, thoughts and executions. The tanamalika in Hamsanandi, Mohana and Kapi in the form of Mayura, Markata, Ghanta, Shankha tana patterns was not only delightful but also reflected upon the young singers' expertise. The pallavi "Rama mantrava japiso" (aditala) was notable for bhava and laya skills of the vocalists.
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The taste of the classical grandeur was had at singer-scholar Dr. T. S. Sathyavathi's concert for Sri Seshadripuram Rama Seva Samithi at the Seshadripuram College auditorium as part of Sri Rama Navami music series.
The classical motivation remained strong in this gifted and elegant vocalist and the rasika was amply rewarded. The selection of items for the concert were profound and and included Saveri varna, a fine Begade ("Vallabha Nayakasya"), magnificent Mukhari (Thyagaraja's quaint krithi "Muripemu") and a delightful Devamanohari (for Vasudevacharya's "Palukavademira"). Travelling with her excellence of form was the integrity of her style.
Together they conferred on Sathyavathi's performance in general and delineation of Begade and the chittaiswaras of the krithi "Palukavademira", in particular, a wholesomeness that was immensely satisfying.
Raga Varali was extended in neraval (at "Sagara Shayana") and varied kalpanaswaras for Thyagaraja's krithi "Eti janma midi ra". The vocalist deserves a special word of praise for keeping the identity of Sarasangi raga pulsating in every raga phrase that she sang to render a raga, tana and pallavi set to aditala. It is a virile raga and would be difficult to think of a greater creation in it than Sathyavathi's pallavi "Sada Sriramam bhaje merudheeram gambheeram".
Its grandeur was unique for beautiful fusion of musical conception and laya flow structure. She sang the pallavi very expressively and succeeded in communicating its splendour.
This quality was there in the renditions of swara patterns too, featuring a chain of ragas Durga, Hameer Kalyani, Ahir Bhairav, and Des.
A rare gem krithi by a lesser-known Haridaasi Ambabai "Hachchada Ogeya" in Poorvikalyani thrilled the audience.
M. SURYA PRASAD
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