Tonal modulation was a highlight of G. Bhuvaneshwari’s concert.
Singing under the auspices of the Tirumala Tirupathi Devasthanam at the TTD Information Centre, G. Bhuvaneshwari presented a neat, well-ordered recital. Having been groomed by eminent gurus such as Neyyatinkara Vasudevan and Professor Omanakutty, the artiste based her concert on a judicious mix of compositions highlighted by apt tonal modulation and an unhurried approach.Annamacharya’s ‘Sriman Narayana’ (Bowli) struck a devotional note, while in Tyagaraja
’s ‘Venugana’ the upper reaches of Kedaragowla were negotiated with comfort.
A composition of Suvarna Nalapatt, ‘Gopala’ (Mayamalavagowla) set a sedate pace. The imposing edifice of the Syama Sastri masterpiece ‘Mayamma’ cast its customary spell. One was left wishing that the artiste had opted to delve deeper into the emotive content of this esoteric oeuvre, instead of settling for a pragmatic approach. The patterned formations of the vocalist’s Mohanam delineation spoke of a planned approach, while in his version, the violinist, V.L.Sudarshan allowed spontaneity to take over.
Concise kalpanaswaras
The lyrical appeal of Oothukadu Venkatasubbaiyer’s ‘Swagatham Krishna’ held sway before concise tisra and chatusra gait kalpanaswara sallies surfaced. Another composition of Suvarna Nalapatt, ‘Chandramowlini devi’ (Chalanattai) was an off-the-beaten-track offering, followed by Papanasam Sivan’s ‘Venkataramana’ (Lathangi)The artiste’s competent sketch of Todi, the main raga, touched upon the salient features with practised ease. The Oothukadu krithi ‘Thaye Yashoda’ supported niraval at ‘Kaalinil Silambu’ and the swaras in two speeds were animated by a lively spark, drawing pat responses from the violinist. Clarity and a natural interlinking of ideas marked V.L. Sudarshan’s Thodi exposition. Tripunithura A.S, Neelakantan (mridangam) came up with an absorbing tani avartanam laced with emphatic variations.The tukkadas included ‘Rama rama’ (Tilang) and ‘Uyyala’(Neelambari) brushed with a soothing touch.
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