Lustrous lineage
SHUBHRA MAZUMDAR
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Aditi Kaikini Upadhya proves that she furthers her father's legacy, while making it her own.
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The Vocal timbre was charming and created a consummate Aura to the music.
With her very opening notes, Aditi Kaikini Upadhya, daughter of Pandit Dinkar Kaikini, doyen of the Gwalior gharana, reassured her listeners that she was an accomplished musician who valued her heritage but was able to stand on her own as well.. Her recent concert in the Capital was almost an introductory performance for many in the audience, for this promising artist is not a familiar face on the concert circuit of the city.
Evocative
Her choice of a well grounded and evocative raga outlay in Yaman was a sanguine one, for the artiste was able to give the audience a chance to savour the possibilities of creative expansion within the raga format.
Besides, the artist herself propounded an unhurried and aesthetic arrangement of the vilambit badhat, allowing her listeners to soak in her essential musicality as she expanded note by note along the raga scale.
The approach, with this well formulated patterning of the badhat was not repetitive and afforded some interesting combinations in the bol taan expanse. The vocal timbre was charming and created a consummate aura to the music.
The later inclusions of khayal and tarana in the same raga rounded off the first part of the concert ably.
The taan patternings in the chota khayal format were a delight for listeners, and the sargam stretches, thereafter, were interwoven with studied intensity to create the right framework for the music. The quickened rhythm heightened the appeal of the music recital.
The tarana in this segment was a Raja Bhaiyya Poonchwala creation and contained the convoluted and quicksilver changes of musicality that mark the master's bandishes.
Kaikini brought out the syllabic patterns of the sawaal- jawaab through an intelligent change of vocal timbre, making complete sense of the piece. But the subtle nuances that showcase a singer's personal creative ability failed to receive the right response from this artist. In the end, the recital was well rendered.
The choice of a sadra lyric for the second half of the concert did not give the same effect.
The rarely heard compositional style of a sadra, instead of say, a madhya laya khayal or even a thumri, was commendable. The treatment of the composition left much to be desired.
There was a close overlapping of the khayal genre in the singing and it ended as a lacklustre performance.
The choice of the raga Chandrakauns in a Bageshwari arrangement allowed the artist to delve into both the ragas in a structured and balanced arrangement. The creative outreach was not easily spotted in this rendition.
Perfect blend
The Teen tala chota khayal was a suffusion of sargam taan patternings that allowed listeners to assess how carefully and cohesively the vocalist had rehearsed her concert piece. It was a perfect blend of academic excellence and musical ability.
The evening was a very congenial musical experience from one of the most promising artistes of the younger generation.
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