Masterly voice
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R.K. Srikantan’s concert was marked by consistency and stablility
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IMPRESSIVE Vasudha Keshav is an artiste with exceptional merit
R.K. Srikantan with his rich sonorous voice presented a concert at Vasudevacharya Bhavana accompanied appropriately by Ramakanth (vocal support), Chandrashekar (violin), Renukaprasad (mridanga) and Dayananda Mohite (ghata).
Consistency and stability are strong features influencing both his voice and styles. The mature voice would not loose its pliancy and timbre even to the slightest degree in higher octaves (vikrishtam). He would invariably see that technical paraphernalia are judiciously employed ensuring smooth and unhindered flow of melodic strains (madhuram). Yet, somehow the veteran’s extempore could not unfurl to its full bloom to satiate the thirst of his devout listeners. Relatively less time was devoted for the in-depth improvisations.
“Karunimpa Idi Manchi” (Varna- Shahana- Tiruvottiyur Thyagayya) irrefragably mirrored the artiste’s faculties which have fathomed deep into the subtleties of the art form. Confidence and composure ingrained in the scholar enabled him to render the lyrics with clarity reinforced by pauses at appropriate areas, accentuations on relevant words and nilugades wherever essential. “Evari Maata” (Kamboji- Thyagaraja) was the main focus of the concert throwing
open every opportunity for all the artistes to pour in their expertise. Both the singers developed the raga in alternation between themselves exposing every subtle melodic area to perceptible degree.
The voice articulated with renewed vigour while he was elaborating in the taara sthayi taking gandhara and madhyama as the main fulcrums.
An ideal approach to the lyrics smoothly led on to a spacious neraval at “Bhakthapradhinudanuchu” followed by tastefully knit swarakalpana and vibrant thaniyavarthana. Other interesting inclusions: “Amba Mahavani” (Saraswathi Manohari -Muthayya Bhagavathar), “Chintayami Jagadambam” (Hindola - Jayachamaraja Wadiyar), “Dharmasamvardhini” (Madhyamavathi - Dikshitar) and so on.
Vasudha Keshav gave her vocal concert at Shri Krishna Gana Sabha, accompanied by H.K. Narasimha Murthy (violin), H.L. Shivashankara Swami (mridanga), and V. S. Ramesh (ghata). “Eranapai” (varna - Thodi - Patnam Subrahmanya Iyer) carried on with a stern hold over the pace and the mode at once established her as a seasoned artiste. But it also gave an indication as to the probable overall outcome - belittled mood and melody.
In spite of exceptional merits (consider: the gamut of her voice, fluency in progressions, resilience in vocal inflections and diligence in planning), a few overlooked shortcomings marred her concert.
The main reason could perhaps be attributed to the meagre attention paid to the contents and significance of the lyrics. Indistinct pronunciations (avyaktam), tendency for speedy narrations and preference to rhythm rather than to mood, pulled down her genuine efforts.
Consider Kamboji (“Evarimata” - Thyagaraja): Though she developed alapana methodically, frequent short passages beginning or ending with jerky phrases interfered with its smooth flow. Skimming over the lyrics and hurried progressions rendered the neraval at “Alanadu Kauravula” (Chandrajyoti – Bagayanayya - Thyagaraja) unintelligible.
Similar were the observations pertaining to the lyrics in “Rajagopalam” (Mohana – Dikshitar) and “Sadamathim” (Gambhira Vaani –Thyagaraja).
V. NAGARAJ
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