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Memorable as ever
MANJARI SINHA
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Kala Vihar’s tribute to Guru Shambhu Maharaj was an apt one.
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Photo: Sandeep Saxena
Melodious Shubha Mudgal in performance
Kala Vihar’s recent baithak was its musical tribute to the legendary Guru Shambhu Maharaj, organised annually on his punya tithi (death anniversary). With a dedicated artiste like Manjushri Chatterji as its founder, Kala Vihar has earned a favo
urable reputation for its dignified presentations featuring top artistes from time to time. The evening started with the invocation guru-vandana presented by Manjushri Chatterji and her disciples in Kathak style before Shubha Mudgal, the main artiste, took over.
One did appreciate Shubha’s choice to commence her concert with the melodious evening raga Yaman Kalyan, enriched with the tender touch of Shuddha Madhyam. With a brief auchaar around the base Nishad in the mandra saptak, she reached the soul filling Shadja, alive with diverse feelings. The slow composition (bara khayal), “Kajra kaise daaroon….” Set to slow Ek tala saw her fertile imagination in the alap barhat, behelawa and the bol-alap before she studded it with a variety of ans. The chhota khayal in Teen tala “Rang de….” Reminded you of the famous composition “Kinaare kinaare…” with its unique rhythmic play, like a teasing ‘chhed-chhad’ with the tala.
The centrepiece “Aaj man laago mero…” in raga Chhayanat, set to medium tempo Jhap tala seemed specially selected and feelingly sung as a tribute to the late guru who dedicated his life for sangeet-jagat as described in the composition itself. The coming down in antara during the words “chit dhare…” saw a beautifully conceived descent, dodging the matras of the tala beats. Aneesh Pradhan added to the rhythmic charm with his understanding tabla accompaniment at this particular place. This one and the earlier couple of compositions in raga Yaman were the lovely creations of ‘Ramrang’, Shubha’s guru Pandit Ramashray Jha.
While khayal singing is her forte, Shubha is equally at ease with the thumri-dadra genre, was once again proved in the next Mishra-Mand composition “Nipat kapat saiyaan kaahe banaao batiyaan” sung in this mode. The bol-banao that brought the essence of shringar rasa was at times inspired by the melodious sarangi support of Murad Ali, while the variations of the concluding laggi on tabla by Aneesh made her enjoyment reflect on the mesmerised audience also. Manjushri Chatterji would likely have found its abhinaya in Kathak hard to resist. The audience would have certainly loved Manjushri emoting it, but the idea remained a wishful thinking alone.
In conclusion
Shubha concluded her concert with a soulful shabad, “Satguru sahib jab meher kari ji…” in praise of the spiritual guru.
She herself had composed this soul stirring piece in raga Bageshri, normally uncommon for a bhajan-like rendering.
Sudhir Nayak, who normally accompanies Shubha on the harmonium, was conspicuous by his absence but Muraad Ali on the sarangi and Aneesh Pradhan on the tabla did full justice to enhance Shubha’s memorable vocal recital.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
