Friday Review
Bangalore
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Lucid exposition
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A good choice of compositions marked Poornima Krishnan’s concert
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The Malleswaram Sangeetha Sabha, Bangalore, in association with Ananya GML Cultural Academy, organised a vocal concert by Poornima Krishnan.
The ata thala varna in Kanada and the Periyasami Thooran krithi in Saranga “Gananathane” revealed a fine voice and lucidity of exposition. Purandaradasa’s composition “Kodubega Divyamathi” in Arabhi was succeeded by a pleasing alapana of Kharaharapriya and a beautiful rendition of Papanasam Sivan’s “Senthil Andavan”.
Excellent choice
“Sripapriya” in Athana was followed by a short alapana of Hindolam, Deekshithar’s “Govardhana Gireesam” and a few kalpana swaras. “Nee Padame Gathi” in Nalinakanthi and “Innudaya Barade” in Kayanavasantham and khanda chapu thala were precursors to the main raga of the evening, Kalyani. The alapana was melodious, unfolding gradually with expansions around the key swaras in the three octaves, and the Syama Sastri krithi in misra chapu thala “Thalli Ninnu” was an excellent choice.
The concert ended with “Rama Rama” (Thilang), the ragamalika “Sanandam Kamalamanohari” and a thillana in Behag. A deeper and more diligent exploration of the improvisational aspects integral to the concert format will certainly enable the artiste to attain higher levels of professionalism.
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Ajay Nambudiri presented a vocal concert under the auspices of the Music Circle.
The recital commenced with an adi thala varna in Bahudhari and a composition of Ponnaiah Pillai in Athana, followed by the Muthaiah Bhagavathar krithi “Jalandhara Supeethasthe” in Valachi raga and rupaka thala.
Subbaraya Sastri’s “Janani Ninnuvina” in Reethigoula, preceded by a brief bhava-laden raga alapana, was contrasted effectively with the exhilarating tempo of “Shobhillu Sapthaswara” in Jaganmohini.
The compact alapana of Khamas that prefaced “Santhanagopalakrishnam” was notable for its emphasis on the different shades of the madhyama, while the elaboration of Kapi and the krithi “Intha Soukhyamani” were ornamented with deft touches, and Papanasam Sivan’s popular composition in Vachaspathi raga and adi thala, “Paratpara Parameswara”, featured some vibrant kalpana swaras.
The artiste came into his own with the alapana of Thodi, with his voice exhibiting greater clarity and strength than in the previous segment of the concert.
The sancharas around the madhyama, panchama and the thara sthayi shadja were rooted in classicism yet spontaneous, and the neraval and kalpana swaras appended to “Srikrishnam Bhaja Manasa” in adi thala were characterised by the free flow of manodharma rather than rhythmic calculations.
MADHAVI RAMKUMAR
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
