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Sincere effort
Designed with twists and turns: Sangita Sivakumar
Sangita Sivakumar’s concert was a declaration of her loyalty to the classical contents of Carnatic music. Due to strained vocal articulation the interpretative part fell short of expectation. But her integrity lay in her sincerity to do justice
to alapanas and kirtanas and not to trivialise their essentials.
Two raga alapanas, Varali (‘Seshachala Nayakam’) and Khambodi, spoke of her imaginative capacities and their exposition was intensely vigorous.
Tonal strain
Her musical equipment was sound enough to preserve the purity of Carnatic music with strict adherence to tradition and freedom of expression. In the tara sthayi sancharas, however, there was tonal strain. The twists and turns in designing the alapanas helped to make them come alive in her picturisation. She looked in great haste to mount sancharas in the higher octave, particularly in the development of Khambodi. Overall vividness marked the effort. The kirtana was ‘Thiruvadi Saranam.’
In characteristic shades of Karnataka Kapi, her alapana, was evocative emphasising the raga’s subtleties.
This was followed by Swati Tirunal’s slow-moving but highly emotional composition, ‘Suma Sayaka Vidura.’
In the whole concert, this piece stood out for tranquillity and aesthetic content. ‘Yagnadulu’ (Jayamanohari) and ‘Vaachaama Gocharame’ (Kaikavasi) were included in the programme.
Padma Shankar was the violin accompanist. Her alapana lines in her solo were precise with a good degree of felicity. The vinyasas were concise and carefully structured.
Nellai Balaji was the mridangist. Without being too assertive, the percussive support was uniformly pleasing.
SVK
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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