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Raga delineation carefully etched
G SWAMINATHAN
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Sankarabharanam and Saveri were given equal importance at the memorial concert by Seetha Narayanan.
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Seetha Narayanan
Seetha Narayanan’s vocal concert as a tribute to Alathur Brothers at the Narada Gana Sabha Mini Hall, as anticipated, was a custom carved performance.
The senior musician stuck to her convictions on convention at every stage of her programme without an iota of compromise to woo the gallery. Even her starting varnam ‘Sarasooda’ in Saveri followed the three column style (first, second and madyama) unlike the common practice of first and madyama. It was also a presage for the elaborate Ragam, Tanam, Pallavi in Saveri which came much later set in Tisra Triputa -4 kalai Pallavi.
If one overlooks the traceable strains in the upper registers, Seetha Narayanan’s full throated articulation was absolutely immaculate. As a mark of appreciation she introduced a couple of compositions of Nadopasana Srinivasan in Sama (‘Tumbikai Nadha’) and Charukesi (‘Hanumane Num’) whose book of compositions was released on the eve. Seetha Narayanan also presented ‘Sri Sachithananda Kantham’ in Vachaspathi preceded by a brief alapana and swaraprasthara in ‘Sarva Jeevathma.’ This kriti of Meesu Krishna Iyer was said to be tuned and popularised by Alathur Brothers. Two ‘gana’ ragas Sankarabharanam (‘Entuku Beddala’) and Saveri (RTP) shared equal importance in the programme. In the former, Seetha’s focus was more on the niraval of ‘Vedasasthra’ turning that into the highlight of the whole rendition. Almost on the same approach, in the RTP the four Kala Pallavi drew more attention than Ragam and Tanam.
Simple and straight
Seetha Narayanan’s swara passages were simple but charming. Perhaps the glamour was the ragamalika string she attached to the pallavi ‘Kari Mora Lina Veda Hare Krishna’ in Simhendramadyamam, Begada, Revati and Desh. Her raga expressions were framed on decisively time honoured mode. Usha Rajagopalan’s violin support was well in sync with the vocalist perceptions. Nevertheless, Usha needs appreciation for blending a few extra finer touches to her raga versions in Vachaspathi and Saveri to offset blandness. Tanjavur Subramaniam’s participation on rhythm was on acceptable decibels in a calculated way.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
