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MAJESTIC M.K. Saraswati’s recital had fine tonal qualities

She selected Naayaki Kaanada (“Mero Piyo”), a midnight raga, for the evening as the opening presentation. The lyrical theme unfolded nearly in a fashion the doyen Mallikarjuna Mansur had made it immortal. Seema is possessed with a melodic voice; her style has clarity and swiftness, which, with more artistic modulations and imaginations, can be assuredly impressive.

With these merits and shortcomings, the badhat featured judiciously employed sharp melodic curves (very characteristic of the raag) in the desired areas of the scale. Apt twin-andolans around gandhara and gliding kans while arriving on rishabh, pancham and such notes substantially established her competence. She also sang two vachanas –“Nammavaru Besagondare” (Basavanna) and “Akka Kelavva” (Akkamahadevi).

M.K. Saraswathy’s veena recital paralleled with that glow of majesty and splendour the royal palatial precincts wore on the prestigious occasion. Fine tonal qualities she could instantly elicit, deep and soft gamakas her imaginations brought forth, and discreet usage of tribhinna gamakas enriched the overall grandeur. They collectively and invariably established the artiste’s artistic control over her instrument. The prime concern of her approach and the pivot of her style is a delightful blend of melody and experience; now virtuosity subserviently followed creativity: signs indicative of deeply ingrained aesthetic sense, commitment and involvement.

She imaginatively and dexterously decorated the composition “Amba Vani” (Kiravani-Muthayya Bhagavathar) from various aspects. Smooth alapana dovetailed with sharp thaanas evolved through Kiravani-Kalyani-Kambhoji sequence.

An element of wonder awaited the listener in the swaraprasthara section too: the audience savoured the relishes of Kiravani, Hamirkalyan and Dvijavanthi in series.

A succinct mukthaya, simulating thaniyavarthana, by percussion scholars H.L. Shivashankara Swamy (mridanga) and Shashi Shankar (ghata), consummated the experience. Other highlights were Veene Sheshanna’s tillana (jhinjhooti) and “Thamburi Meetidava”.

Koviladi Kala’s concert at Ganabharathi was replete with interesting features. Koviladi Archana (vocal support), B.K. Raghu (violin) and V. Nanjunda Murthy (mridanga) added extra flavors.

The concert gained momentum from the very beginning: “Chalamela” (Varna - Natakuranji – Kuppuswami Iyer). She highlighted the inherent rasa, a majestic veera rasa, while expatiating Bilahari; the melody accompanist brought out some more interesting shades of shringara and haasya. Thus being sufficiently prepared, the audience whole-heartedly received the lyrics – “Dorakuna Ituvanti Seva” (Thyagaraja) – ideally rendered in vilamba-madhya laya.

In the neraval at “Ramabrahma Thanayudau” and the kalpanaswara sections, artistically framed swara phrases, variety of gamakas subjected to appropriate timing and sequence, vouched for the artiste’s imagination, versatility and experience.

On similar grounds thrived: alapana in Shanmukhapriya, lyrics “Mamava Karunaya” (Swathy Thirunal) and neraval at “Kaamita Daana Lola” followed by swaraprasthara. Thaniyavarthana confirmed the percussionist as having an admirable sense of context backed with aesthetic competence.

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