Kalyani finds uncommon touches
LALITHAA KRISHNAN
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The exposition brimmed with pivotal prayogas and freewheeling loops.
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Photo: V. Ganesan.
True to tradition: Radha Venkatachalam.
In her vocal recital under the auspices of the Music Education Trust, Radha Venkatachalam presented music true to tradition and tempered by vision. The Pantuvarali alapana encapsulated essence through economical phrasing while dipping jarus served up
scoops of bhava.
The GNB composition ‘Sivananda Kamavardhini’ invited kalpanaswaras, set off by clever little poruttams, with janta patterns and jarus lending interest to the concluding cycle. The vocalist presented a Devagandhari of substance inlaid with firm pidis that carried the stamp of unmistakable identity. The artiste pressed home her advantage with sancharas that made the most of her easy reach in the mandra sthayi. Muthuswami Dikshitar’s ‘Sri Meenambikayah’ illustrated glowing facets of the raga.
After Tyagaraja’s ‘Balakanakamaya’ (Atana) that served as a robust filler bolstered by compelling percussive patterns and firmly structured swaraprasthara, the RTP in Kalyani found instant favour. The exposition brimmed with pivotal prayogas and freewheeling loops. The excursions at the nishadha, and the shadja and panchama-varja phrasing lent uncommon touches.
Elaborate tanam
The aural experience was heightened by an elaborate tanam in which the artiste followed a highly disciplined progression that animated the theoretical ideal with creative thrust. The pallavi ‘Isanai Jagadisanai Kanakasabesanai Kanamum Anudinamum Maravadiru’ (Khanda triputa tala) ran the gamut of permutations from anuloma and pratiloma to viloma - a challenge that Radha met with aplomb aided by the able cooperation of her accompanists. The violinist, R. Hemalatha, lent consistent support. Unexpected touches surfaced in Pantuvarali and her Kalyani raga was a relaxed finely crafted narrative.
Young Ranjana Swaminathan, a disciple of Umayalpuram Sivaraman, did ample justice to her guru’s style on the mridangam. From complementing vilamba kala kritis with sensitive strokes to drumming up an exciting crescendo in the absorbing tani with H. Sivaramakrishnan (ghatam), she was a picture of concentration and an example of diligent sadhana.
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