The distinct feature of Prarthana Rao’s concert was that even her spontaneity had a method. SVK
Prarthna Rao.
The accent in the cutcheri of Prarthana Rao at the TTD Centre was on clear musical perception. There was smartness of presentation and the rendering of ragas and kirtanas provided pleasurable experience to the rasikas.
She manipulated both the softness and swiftness of her voice to good effect with consistency and evenness. But the tone in the upper octave did not contribute to easy exposition. She brought out well the deeper import of kirtana structures, a reward of good training.
The raga sancharas of Harikambhoji, Kalyana Vasantam and Kalyani (the major item) were meticulously chiselled. The distinctive feature in her technique was that even in the spontaneity of expression there was a method. In rendering the kirtanas, particularly, ‘Sani Thodi Theve,’ there was almost an ascetic approach to the release of the many sangatis. She raised the standard of her concert with her tight grip over the demands of tradition.
Deep insight
Harikambhoji alapana was compactly sound. In the Kalyana Vasantam vinyasa manodharma merged with the beauteous landscape of the raga. But at the hands of the violinist Karaikal Venkatasubramanian, the pattern was for the most part too swara-derivative for one to get a good feel of the shades of the raga. In the programme two pieces were sung with deep devotional fervour. Hailing from Mangalore, Prarthana Rao could get a deep insight into the Purandara Dasa kritis, ‘Srinivasa Neeve Paalitho’ in Anandabhairavi and ‘Ninne Daya Bharate’ in Kalyana Vasantam. She interpreted these items with nuanced emphasis on the sahityas reflective of emotional finesse. It was her passionate commitment to the Kannada Vaggeyakara. The Kalyani kirtana ‘Kamalaamba Bhajare’ was handled with organised skill well groomed to provide a method and purpose. The violinist in general was cooperative playing on the same wave length as the vocalist. Erode Nagarajan (mridangam), while sedate in accompanying songs, let in changing laya patterns in his tani.
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