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Sprightly swara passages

SULOCHANA PATTABHIRAMAN

Lakshmi Rangarajan’s recital had polish and dignity.

Photo: R.Shivaji Rao

Flawless exposition: Lakshmi Rangarajan.

Lakshmi Rangarajan, a recognised vocalist was one of the prime disciples of the maestro the late T.M. Tyagarajan. Her concert for Brahma Gana Sabha in the company of V.V.S. Murari (violin), B. Ganapathiraman (mridangam) and Guruprasad (ghatam), bega n with Moolaiveedu Rangasami Nattuvanar’s Nattakurinji varnam with a brisk gait.

‘Devadeva’ of Swati Tirunal in Mayamalavagowla is a safe bet at the beginning of a concert to set the momentum and when it is embellished by lively sarvalagu kalpanaswaras the tone and tenor are assured.

Captivating Anandabhairavi

Anandabhairavi has a timeless allure and Syama Sastri in his kritis has sensitively portrayed its captivating beauty and splendour to the optimum. The soothing rendering of his ‘Marivere Gathi’ in misra chapu by the singer speaks well of her involvement with the emotions of the composer. The athletic swara improvisations for ‘Tolianma’ in Bilahari set to Kanda Chapu had total felicity of expression, precision and musical comprehension.

The alapana of the 10th Melakartha Natakapriya was a flawless exposition in terms of maintaining the raga swaroopa throughout without nebulousness, despite the compound nature in its structure. The swara passages in the charanam of ‘Idhisamayamu Brovaradha’ free of barrage of mathematical calculations, were impressive outputs.

Kalyani dealt at length had a rich vein of melody coursing through the vein of the alapana. In Dikshitar’s Navavarna kriti ‘Kamalambam Bhajare,’ the niraval and swaras had a polished finish and dignified bearing.

The percussion dialogue had a refined rhythmic consciousness. The Natakapriya and Kalyani raga essays on the violin reflected Murari’s technique being well organised and his competence in presentation.

The concert concluded with a Javali in Kapi and Veena Seshanna’s Chenchurutti Tillana.

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