Friday Review
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Sajit delights, Aishwarya too
VENKATESH SRIKANTH
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E.N. Sajit and Aishwarya Lakshmi came up with impressive performances during their recent recitals in the Capital.
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Utilising his base voice to full potential, Sajit did well to bring out the sahitya contents in Todi raga composition to the fore.
Clarity of notes, even in lower octave, and a good insight into the concert presentation technique certainly plays an important role in enhancing the overall outcome of a Carnatic music concert. Endowed with a good base voice and displaying these qua
lities, E.N. Sajit delighted the rasikas during his recent concert in New Delhi that lasted close to two-and-half hours. The concert was organised by Gayathri Fine Arts.
Sajit began his recital with a composition of Swathi Thirunal “Paripaahi Ganadhibho” in raga Saveri. He followed it with crisp swaraprastharas, displaying his manodharma talents at the very beginning. His concert being held on a Saturday, he thoughtfully took up Dikshidar’s “Diwakaratanujam saniswaram’ in raga Yedukulakhamboji. Though he presented only a very brief sketch of this raga at the beginning, he brought out the raga Bhava to the fore by presenting this composition skilfully.
Sajit’s presentation of Mysore Vasudevachar’s “Bhajare re manasa” in raga Abheri was characterised by swaraprastharas rich in creativity. Similarly, the hallmark of his presentation of Shyama Sashtri’s “Ninnuvinaka” in raga Poorvikalyani, was again creative niraval of a phrase from this composition.
Fast tempo
Sajit, then took up a fast tempo, “Nenarunchi nanu”, a composition of Thyagaraja in raga Malavi. Such compositions are of special delight to the accompanying percussionists and they do look forward to such an opportunity to display their talent in the laya. Unless, the singer has absolute control in laya and the required flow in the Sahityam and the in-built chitaswaras, if the composition contains any, he should not venture into such songs. Else, the percussionists take the driving seat and it becomes a difficult task to get back the control from them. Sajit could have avoided taking this piece if he had to refer to his notebook kept in front, particularly while singing those in-built chittaswaras, both at the end of the anupallavi and charanam of this composition.
As the main item of his rectial, Sajit presented yet another Shyama Sastri’s composition, this time it was his Todi raga Swarajathi, rarely taken up in concerts. Utilising his base voice to full potential for this item, he did well to bring out the sahitya contents in this composition to the fore, particularly those in the lower octave.
Earlier, he presented a fine alapana of this raga. Similarly, the niraval and the subsequent swaraprastharas presented by him towards the end were delightful. New Delhi’s VSK Chakrapani on the violin, Kumbakonam N. Padmanabhan on the mridangam and Mannai Kannan on the ghatam provided excellent support.
In another concert, organised as part of Sharad Navarathri festival at the Sankar Matt, Vasant Vihar, Delhi’s young Aishwarya Lakshmi, a disciple of Padmavathy Natesan, put up an impressive show. Her presentation of Papanasam Sivan’s, “Yennai Katharula” in raga Hemavathi was an indication of her musical talents. Both the sahithyam as such and the manodharma aspects like the alapana of this raga, niraval and swaraprastharas were maturely handled. She has a good reach in the higher octave.
Nevertheless, instead of a full-throated singing, she should try to refine herself to enhance the melody at these places. R. Saravanan on the violin and V. Shankar Raman on the mridangam provided good support to Aishwarya.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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