Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
Stamped with classicism
|
Lakshmi Rangarajan’s presentation was sleek and Nisha Rajagopal reprented purity. self-control. SVK
|
Resplendent flashes: Lakshmi Rangarajan
How well with ease her felicitous and appealing voice carried her musical mind marked the concert of Lakshmi Rangarajan in the T.T.Devasthanam’s Navaratri series. Soothing calmness reflected her refined vision in raga alapanas and rendering of
songs. There was a caressing content in her sleek presentation.
Nisha Rajagopal.
Exceptionally feminine in measuring the lyrical dimensions of ragas, the delineations revealed the essential difference between skill and flamboyance. The special charm of the concert sprang from her raga essays and the judicious selection of rakti kirtanas.
The few movements before the Suruti song, ‘Sri Venkata Girisam’ were tenderly textured and stamped with classic purity to highlight the raga’s passionate mood.
The gracefulness and tranquillity in her interpretation of the song generated fullness of enchantment, the mellifluous Sanskrit of Dikshitar and her vocal finesse in articulation blending to effective depth and delicacy.
Though Kalyani (‘Amma Raavamma’) was packed with substance with choice and traditional sancharas, the prettiness of Ritigowla (‘Ninnu Vina Mari Galada’), with shifting light and shade, poise and pauses, held the mirror up to her subjective musicality. Fine tonal control in the higher reaches carried resplendent flashes and sparkle. The alapana and song were impressive by their moods and handling excellence.
The vinyasas of the two major ragas Kalyani and later Bhairavi (‘Janani Maamavadi’ of Swati Tirunal) provided weight to the recital through sheer quality. ‘Annapoorne Visalakshi’ (Sama) gave the interlude of quietitude. Subhiksha, Lakshmi’s daughter, as voice support, gently complied with her role.
The violin accompanist, M.A.Krishnaswamy, responded with equal alacrity to the vocalist’s mind set showing slices of his pedigree. Poongulam Subramanian (mridangam) played with positive percussive motivation. The rapport between both the artistes enhanced the overall effect of the concert.
Smooth articulation
A good voice training leads to a host of beneficial features in Carnatic music. One significant aspect in the musical equipment of Nisha Rajagopal is the way she handles the smooth ascent and descent in giving articulation to sancharas and sangatis.
Her kutcheri at the TTD Navaratri festival was based on two faculties — no contrivance to create tempo and emphasis on undefiled purity of presentation.
Nisha rendered two ragas in great detail — Charukesi (‘Karunai Varum’) and Madhyamavati. The broad coverage in the middle octave was on familiar lines without being routine or bland. To the listeners, there was a fine feeling of relaxation as she unhurriedly elaborated the ragas. The sequences of sancharas at every level was noteworthy.
Her interpretative insight in the rendering of kirtanas reflected her pursuit of the values embedded in each song. The list of the items included ‘Ennadu Nee Kripa Galkuna’ (Vachaspati), ‘Bhajanaseya Radha’ (Atana) and ‘Adiki Sukham’ (Madhyamavati).
The vitality and precise directness of approach made her song session highly effective. The whole kutcheri was characterised by healthy self-control exuding composed flavour with balanced expressiveness.
The violinist Kandadevi Vijayaraghavan, while being supportive, was also self-conscious of his skill. Artistry at his hands was calculative and demonstrative. Nellai Balaji on the mridangam often looked to the violinist for approval of his laya patterns, particularly in his thani.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
