Friday Review
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Sure strides
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Both Vinay Sharva and T.N.S. Krishna mesmerised the audience with their control over the medium
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Dulcet notes T.N.S. Krishna was fluent while Vinay Sharva sang like a veteran
Vinay Sharva, a voice carefully chiselled and imagination artistically pruned, sang like a veteran at the Shruthimanjari Pratishtana, accompanied by Udayakiran (violin) and S. Manjunath (mridanga). He built his extempore in progressive increments following a pace that was ideal for expressions and clarity.
Yet, in spite of outstanding capabilities, the young artiste could not transport the audience beyond the realm of brilliance and excellence into the world of subliminal ecstasy.
“Shrinivasa Tava Charana” (Kharaharapriya - Papanasham Shivam) was in fact an exemplary performance. Refined gamakas that covered the entire gamut of the presentation instantly radiated the majesty of the raga.
He stabilised the developments admirably adhering to a slow pace interspersed with configurations in medium speed.
In the lyrical section, right accentuations, strengthened by necessary pauses, immensely facilitated, not only an easy comprehension of the text, but also a wholehearted enjoyment of its meaning.
“Paradevata” (Dhanyasi- Muthuswamy Dikshitar) reached same melodic heights as the above one, being enriched with an alapana, a neraval (Kamalamalini) and swaraprastara.
Whereas the violinist’s dexterity matched the lead artiste’s artistry, the percussionist’s resonating beats suited the depths of the singer’s expertise.
Sharva’s scholarly versatility culminated in a brief demonstration of a Pallavi (Thodi) set to the longest thaala Simhanandana).
Other highlights - Jayachamaraja Wadiyar’s “Shri Mahaganapathim” (Athana) and Thyagaraja’s “Rama Nipai” (Kedara) and “Padavini” (Saalagabhairavi).
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T.N. S. Krishna’s style of singing (SPVGMC Trust), having acquired a stunning control over the laya and imaginative grip over spontaneity while framing the swaras, mesmeried the audience.
He was very fluent, but when he negotiated complex passages, his breath control was poor.
A collective impact of the first two presentations Valachi (Varna- Ragamalika- Patnam Subrahmanya Iyer- comprising ethugade passages in nine ragas) and “Vaathapi Ganapathim” – Hamsadhwani - Muthuswamy Dikshitar - when appended with a lengthy swaraprastara) hinted at a swara-laya-vinyasa dominated trend.
Of the entire concert, “Amba Nilayathakshi” (Nilambari- Dikshitar) stood firmly to represent true melody and deep experience.
He trod an impressive vilambalaya and inflected majestic graces realising the Bhava impregnated in the lyrics ultimately eliciting Bhakti rasa.
Elaboration in Kalyani (“Ethavunara” – Thyagaraja - incorporating a neraval at Sitha Gowri - leading to a thani avarthana) featured, in addition to sporadic glimpses of pleasing tuneful feats, wondrous flashes of Mohana (as a result of the shruthibheda at rishabha).
Later on, with remarkable ease, he executed murchana while elaborating Thodi (Raga Thana Pallavi – “Vinayaka Gananayaka”) to draw shades of Kalyani.
Preferably, he could have taken Nishadha of Kalyani and evolved Thodi (instead of Mohana), thus imaginatively establishing the musical affinity inherently running between the janaka ragas.
Akkarai Swarnalata (violin) consistently maintained melodic expressions in every curve, in spite of signs of diffidence in reciprocating very complicated passages (in fact not necessary in a pleasing music) were concerned.
H.S. Sudhindra (mridanga) and G.S. Ramanuja’s (ghata) acumen and mastery accorded well with the styles of both the tough singer and the gentle violinist.
V. NAGARAJ
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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