No superfluous moves
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Geetha Y. Putti’s maiden vocal concert grew gradually in confidence and artistry
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CONSISTENT Geeta Putti saw to it that the rasa inherent to a composition flowed uniformly throughout
That tranquility lies in simplicity was well illustrated in Geetha Y. Putti’s maiden vocal concert at Ganabharathi. She was direct in her methods, chaste in her expressions and refined in materialising her artistic imagination. As she kept hers
elf away from superfluous calculated moves, listeners could focus on the melodic aspects.
Be it an alapana or a neraval or swara kalpana she would see that the rasa inherent to a composition is enlivened to flow uniformly throughout the presentation. The concert that started on a low key gradually acquired momentum to reach commendable heights.
“Chalamela” (Varna-Durbar-Tiruvottiyur Thayagayyar) gave the initial impetus by virtue of its steady gait and vigorous akaras. The bold and steady voice continued into “Veena Pusthakadharinim” (Vegavahini-Muthuswami Dikshitar), “Vandeham Jagadvallabham” (Hamsadhvani-Annamacharya), “Mokshamugaladha” (Saramathi- Shri Thyagaraja), but creativity and versatility still remained dormant.
Alapana in Vagavahini sounded more like its parent Chakravaka. Perhaps, if the artiste had taken cue from the pattern of the beginning notations (characteristic of Vagavahini) of the composition, she could have impressively changed the picture of the raga. Further, sliding descends from gandhara to rishabha would have infused an element of implicit submission.
Dharmavathi (Bhajanaseyarada-Mysore Vasudevacharya) brought her on a firm pedestal on which the rest of the concert flourished beyond expectation. Her voice now gained a distinct resilience modulated into fine gamakas, facilitating effortless articulations, and collectively breathing into the compositions both energy and emotion. Neraval at “Niravadhi Sukhada”, followed by imaginatively framed kalpanaswaras, drew renewed appreciation.
The performance reached its peak in Shyamashastry’s “Sarojadala Netri” featuring a scholarly alapana in Shankarabharana, majestic narration of lyrics, absorbing neraval at “Samagana Vinodini” and fluent kalpanaswaras.
H.S. Thandavamurthi (violin) and S. Kumaraswamy (mridanga) were in complete harmony with the singer’s methods and moods, creating a pleasing musical ambience.
***Young vocalist Vaishnavi’s nascent artistry knew no bounds in evolving itself into a fully bloomed accomplishment at Shrutimanjari Prathishtana.
Though she started with diffidence (shortcomings expected of a novice) she concluded her recital with confidence. She was accompanied by two more young artistes — Sushrut Bharadwaj (violin) and Vadiraj (mridanga).
An interesting feature which amazed the audience was “Sharade Vishalakshi” composed in Dharmavathi by US-based Ashok Madhavan. Interest and curiosity thus kindled were transformed into an appealing experience when Vaishnavi presented it with clarity and imagination.
She maintained clear distinction between the features of Devagandhari (“Ksheerasagara Shayana”- Shri Thyagaraja) and the very much similar Arabhi. Adequate stress and elongation of vital notes, apt gamakas and suggestive intricate swara phrases prevented shades of Arabhi colouring Devagandhari: “Ksheerasagara Shayana” was reposing.
She was on a very comfortable plane by the time she commenced Kamboji (“O Rangashayi Pilichite”- Shri Thyagaraja). Consequently, a scholarly alapana, convincing neraval, compactly woven swarakalpana vouched for the artiste’s seriousness in fathoming the depths of the ragas and the lyrics.
V. NAGARAJ
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