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Emotion packed
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R.N. Srilatha’s concert was marked with scholarship
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UNDERSTATED Srilatha unveiled the greatness of Venkata Kavi’s krithis
Seasoned singer Bellary M. Raghavendra’s concert during the music conference of the Karnataka Gana Kala Parishath packed with plenty of musical ideas gave full evidence to the integrity, plan and sequence of ideas. His swara, tone and singing l
eft nothing to be desired. His allegiance to the classicism and tradition was conspicuous throughout the recital. The emotional intensity gelled with his melodious voice well. Opening with the Nattakuranji varna he rendered “Vandenishamaham” (Hamsadhwani). Praiseworthy tone and characteristic phrases beautified Kanakangi (for Bellary Seshagiri Achar’s “Kanakangi Sri Kanakambari”), Kambhoji (“Ela raa Krishna”) and Karnaranjini (“Vanchatonute”) ragas. Raghavendra dazzled in presenting raga Poorvi Kalyani (for Ramnad Srinivas Iyengar’s “Parama pavana”) in detail as the main item of the concert.
***** Seasoned singer S. Sowmya added one more feather to her cap of successful performances. Though I felt that she could have fared better with some more serious planning, her singing had artistic potentials. An important element of manodharma sangeetha, neraval, found very little representation. Secondly, after a detailed and essence-filled Shahana, how could another detailed Harikambhoji be relished. But still, it is to the credit of Sowmya that she drew applause from the packed rasikas with her neat diction, expertise and industry. She began with the Todi varna. Mayamalavagowla (“Tulasidala”) was endearing with a swaraprastara at “Sarasiruha punnaaga”.
“Ee vasudha nee vanti daivamu” with chittaiswaras and swaravinyasa at “Dasa varada” brought out the devout artiste in Sowmya. Shyama Sastry’s demanding piece “Brovamma tamasa” in Manji raga and “Vara Narada” in Vijayasri raga shone forth with her originality of approach.
The expansion of Harikambhoji (“Dinamani vamsha”) was another highlight of her recital. The president of this year’s young musicians’ conference, an efficient and seasoned mridangist V. Krishna (who received the title of Gana Kala Sri) was in fine fettle and imparted a lively laya support. Charulatha Ramanujam (violin) and M. A. Krishnamurthy (ghata) contributed well to the success of the recital.
*** The name of Ootthukkadu Venkatasubbaiyer or Venkata Kavi (1700-1765) occupies a prime place in the pre-musical trinity (Thyagaraja, Shyama Sastry and Dikshitar) period. Some of his creations are outstanding and the use of rare ragas are noteworthy in eulogising the Almighty. The use of Sambodhana Prathama Vibhakthi in addressing the God draws a special attention.
Noted vocalist Dr. R. N. Srilatha from Mysore regaled the audience with her full-fledged concert dedicated to Venkata Kavi’s krithis at Sri Rama Lalitha Kala Mandira’s Devagiri Sangeetha Sabha auditorium. There was a confluence of bhava, style and scholarship in rendering well-selected ragas and krithis of the Kavi.
Her sincerity of purpose and approach was fetching. Never overdoing anything, she unveiled the greatness of the krithis.
Ably accompanied by Lalgudi Rajalakshmi (violin), R. Prasad (mridanga) and Sukanya Ramgopal (ghata), salutation to “Pranavaakaram Siddhi Vinayakam” (Arabhi) accounted for an artistic beginning. “Shathakoti Manmatha Sundaraakaara” essentially heard and seen on the dance platform, was given a fine airing by Srilatha.
The other krithis “Ati Nirupama” (Kamavardhini), “Aamudanukku Amudatvam” (a Tamil krithi, Hameer Kalyani) and “Vita Samara” (Vasantha) brought forth not just the peculiarities of the compositions, but also the aesthetic capabilities of the singer. “Nanda Gopala” (Abheri) lightened the hearts of the listeners.
“Vasudevaya Namo namo namasthe” set to Shahana raga, was dealt in detail, spoke of the sound knowledge of the artiste.
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
