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Elite handling of Begada
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Elegant fluency marked the recital. SVK
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Gentle and soothing rendition: Revathy Krishna
The excellence of Revathy Krishna’s performing style rested on how with ease her fingers on the frets and her melodic meettu subserved the subtleties of veena. Her technique in this respect lay in the way she reflected her perceived aesthetic e
xpressions on the instrument.
Her play stood for gentle, persuasive, soothing calmness, her refined vision echoing through alapanas and rendering of kirtanas. This factor contributed in her recital at the Krishna Gana Sabha Gokulashtami series to delineation of the poetic sensitivity couched in sleek presentation.
The kutcheri started with the Begada kirtana, ‘Vallabha Naayakasya’. Her elite handling in brief of Begada was marked by elegant fluency of the judicious selection of sancharas that gave shape and shades to the raga. Lyrical motifs underlined the raga and kirtana exposition.
Well-trimmed sancharas
Two major ragas found a place in the concert — Kalyani and Thodi. The quality of the vinyasa of Kalyani was essentially professional. Mellifluous meettu and well-trimmed sancharas in the tara sthayi revealed her concern for veena niceties. Every phrasing was thoughtfully conceived and elegantly put through.
The song, ‘Himaadri Suthe’ was rendered in such a way as to link her ability with precision.
Revathy Krishna’s temperament in the alapana of Thodi and following ragamalika tanam served to project herself as a vainika dedicated to give distinction and respectful dignity to veena.
She achieved this role with effectiveness and aesthetics moving hand-in-hand. Here, the contact between manodharma and reposefulness was intact — an image of one with a superior faculty to perceive sukham in music.
The kirtana she played was ‘Vaaridi Neeku’ from Prahlada Bhakta Vijayam in Tillaisthanam patantharam.
In between, she included ‘Padavini’ (Salakabhairavi), ‘Maal Maruga Shanmugha’ (Vasanta) in the songs list.
The accompanists were Therazhundur Sundara Raghavan (mridangam) and Sukhanya Rajagopal (ghatam).
A mridangist for a veena recital has to draw much from the soft touch to go well with the veena. Here, the ghatam by Sukhanya Rajagopal was pleasingly pertinent.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
