Kalyani shines with brigas
G. SWAMINATHAN
|
Gifted with a mellifluous voice, Bhushani Kalyanaraman explored ragas with spontaneity.
|
Photo: R. Shivaji Rao
Evenly paced: Bhushani Kalyanaraman.
Bhushani Kalyanaraman’s concert for Krishna Gana Sabha showcased the charm of familiar ragas and popular kritis. Her clear, sonorous vocal dexterity was commendably complemented by her earnest enunciation. Maintaining the tempo of the concert
at an even pace, she chose three ragas of varied characteristics for alapana at different levels.
Bhushani’s careful and defined treatment of Chandrajyothi was followed by ‘Bagayanayya’ with a few strings of swaras at the end. The exposition of Kedaragowla started on the upper notes with sparkling phrases linked aesthetically to present the magnetic beauty of the melody. Kedaragowla, in fact, reveals its charm more in the tara sthayi and Bhushani avidly stuck to that spot. ‘Venugana Loluni Gana’ of Tyagaraja was a perfect proposition with an admirable and imaginative array of niraval stepped up by streams of swaras at ‘Sukaravamulu Kalatarunalu.’
Central attraction
Kalyani was the central attraction of the concert. Bhushani’s interpretation of Kalyani was enticingly energetic, shining with the brightness of brigas, typical of the GNB school. With her mellifluous voice quite comfortable and free flowing in the upper territory, Bhushani could naturally venture into enviable forays both in Kedaragowla and Kalyani, without being wary.
On the flip side, Bhushani’s total abstinence from lingering longer on bhava laden phrases and shying away from kaarvais conspicuously left a gap in both cases. ‘Enduko Nee Manasu’ (Tyagaraja, Kalyani) was a valuable selection. ‘Tyagaraja Hrudaya Sada Nudani’ came in full strength with a vivacious niraval-swara segment closing on kuraippu swaras centred on panchamam.
Bhushani’s swara syntheses were imaginatively set with arithmetical acumen. Poorna Vaidyanathan supported Bhushani on the violin with the same tenor.
Poorna’s versions of Chandrajyothi, Kedaragowla and Kalyani in alapana, niraval and swaras were well attuned to the singer’s mood.
Ramaiah’s percussion was rather soft but pleasing. A good selection of songs – ‘Sri Maha Ganapathy’ in Gowla, ‘Evarani Nee’ in Devamruthavarshini, ‘Maa Ramana’ in Hindolam, ‘Kaalai Thookki Nindru’ in Yadukulakhambodi, ‘Nee Daya Rada’ in Vasanthabhairavi, ‘Akilandeswari’ in Dwijawanti, ‘Rangapuravihara’ in Brindavanasaranga and ‘Kannanai Kanbatheppo,’ (ragamalika), in the concluding session kept the audience’s interest alive till the end of the concert.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
