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High on aesthetics
S. SIVAKUMAR
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Swathy Srikrishna displayed robust originality.
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Photo: R.Shivaji Rao
Scholarship: Swathy Srikrishna
Swathy Srikrishna, made a golden rendezvous with Vachaspathi, as she performed at the Kasturi Srinivasan Hall for the HCL concert series. The raga alapana, as it emanated and spread, was her robust original, the phrases unfolding with imaginative bo
ldness without losing on aesthetics.
In the rendering of ‘Kanta Joodumi’ (Tyagaraja) one witnessed a continuous interplay of bhava and technique, the niraval and meaningful swaras at ‘Ala Naadu Sowmithri,’ and the splitting of sahitya to contain and convey its full meaning.
Clarity of purpose
Her other songs — ‘Varanamukhava’ (Hamsadhwani, Koteeswara Iyer), ‘Narasimha Maamava’ (Arabhi, SwatiTirunal), ‘Meru Samaana’ (Mayamalavagowla, Tyagaraja), ‘Maa Ramanan’ (Hindolam, Sivan), ‘Sri Maathru Bhootham’ (Kannada, Dikshitar), ‘Sarasamukhi’ (Gowdamalhar, Harikesanallur), ‘Rama Namame Thudhi’ (Desh, Sankara Iyer) and a tillana (Revathi) — were outputs that were registered well and served to vindicate the laudable scholarly distinctions she has achieved.
Sri Ragam (‘Nama Kusuma’- Tyagaraja) was the main item, sung with a focus to proclaim its Carnatic colour. An afterthought, as one listened to her, is a suggestion — a slight lowering of her sruti (pitch).
Ramakrishnan (violin) seemed to derive inspiration from the main artiste and showed depth, and rendered winsome prayogas during raga alapanas and swara exchanges. Nellai Balaji (mridangam) gave a thani — short, yet full of substance.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
