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Holding her belief aloft
Photo: R. Shivaji Rao
Varalakshmi Anandkumar
The musical mindset of Varalakshmi Anandkumar was revealed in the Thodi alapana that had an enviable solidity in the mandhara sthayi phrases. She has a husky voice and seems to firmly hold the belief that one’s choice of songs determines a con
cert.
‘Mahaganapathe’ (Natanarayani-Dikshitar) with a chittaswaram came after the Vasantha varnam. The raga alapanas and swara motifs for Saraswathi (‘Anuragamuleni’-Tyagaraja) and Bahudhari (‘Brovabaarama’-Tyagarja) served to mark her identity as one groomed in the DKJ School. One also listened to an emotive rendering of ‘Vanchathonu Naa’ (Karna Ranjani-Harikeshanallur) with the sprightly chittaswaram, and ‘Mayamma’ (Ahiri-ShyamaSastri). It was recall-DKJ again when she sang ‘Naan Oru Vilayattu Bommaya,’ a virutham (‘Em Thayum Enakkarul’), as a ragamalika, and followed it with ‘Muruga Muruga Ena Nee Sol’ (Hamsanandhi-Gomathy Ramasubramaniam). One wished this artist would get into the concert-habit, which would augur well for her and the discerning rasika community.
Ambika Prasad on the violin had his supportive role clearly defined and this was his premise during his raga alapanas and swara exchanges. Young Ranjana Swaminathan who is under the tutelage of Umayalpuram Sivaraman was concentration personified during her thani and had an accompanying style showing great deal of anticipation. The concert was part of the series at Raga Sudha Hall, dedicated to late S.V. Krishnan. He was one of those typical modern kala poshakars, who diligently designed a hall with a keen eye on acoustic perfection, nurtured it like his own child and promoted many artists.
S. SIVAKUMAR
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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