Knowledgeable rendition
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Akondi Srinivasa Raja Rao’s recital was adorned with brief aalapanas.
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Visakha Music and Dance Academy featured a vocal recital by Akondi Srinivasa Raja Rao in its auditorium Kalaabharathi last Wednesday. Senior artiste G. Annaji Rao on violin and young but highly talented mridangam player Mangalagiri Sridhar accompanie
d him.
Warming up with the rendering of a varnam, Jayajaya Ramaanadha of Narayana Teertha in naata concluded with swaram and Sita Lakshamana Sahitham prefixed with brief aalapana, Akondi tunefully set himself into an evo
cative mood despite opting a pacy tempo.
The rendering of Durmargacharaadhamula (ranjani), Chani Todi Teve (harikambhoji), Nanubrovamani Cheppave of Ramadas in kalyani and Raaga Sudharasa (aandolika) adorned with bri
ef aalapanas though was sans any sort of variation in tempo which was as much racy in pace as the earlier ones, attracted good response.
Next, the elaboration of Nanupaalimpa (mohana) including the aalapana, rendering of the lyric, neravu and swaram though was knowledgeable and occasionally even tended erudite, could not attract as much response it deserved because o
f no noticeable change in the tempo.
Next came an eruditely structured ragam and tanam for the intricately coined Pallavi Nammitinamma in thodi in Trisra Roopakam with the Padagarbham placed at a gap of five kriyas after starting of the marking of the talam.
Later it was made to assume the form of a Panchanada exercise by way of shifts into Chaturasram, Misram, Khandam and Sankeernam and got concluded with swaram in ragamaalika. But unfortunately, it also sounded monotonous because of the adaptation of the same speed.
While Annaji Rao on violin provided the much needed relief of raciness in his turns, Sridhar’s exposition of the layabhava while following and executing Thani as well was replete with good gusto and contributed grandeur.
A.R.S
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