With competent artistry
G. SWAMINATHAN
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Violinist Narmadha’s concert validated her ability to be a vocal artist too.
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Most of those musicians who have mastered instruments are reasonably good vocalists too. Those blessed with remarkably melodious voices become singers and train themselves further to perfect their skills. Narmadha is one such artist who is a proven violinist of high calibre and now attempts to make forays into vocal.
The desire to move from the wings to centrestage is another frequently witnessed trend in recent years.
Her maiden (?) vocal concert for Nadopasana at the Dakshinamurthy Auditorium validated Narmadha’s ability to be a vocal artist too. Well, Narmadha has a voice which is a tad heavy and husky. It could definitely suit classical music but for the fact that one cannot help comparing Narmadha, the violinist, and Narmadha, the vocalist. Nevertheless, it was a commendable effort and Narmadha began her concert with the Thodi Adi tala varnam ‘Era Naapai’ in two speeds. The next number ‘Mahaganapatim’ in Hamsadhwani by Jyothirmayi Indira Rajan was loaded with weighty kalapanswara package. For strange reasons Narmadha opted for rather two unexciting numbers one in Arabhi (‘Kannan Tiruvadi’) and the other in Mayamalavagowla (‘Aadikondar’) after ‘Marugelara’ in Jayantasri. Instead of brightening the proceedings, these two slightly created a dampening effect. The Begada raga essay relieved it a bit and the composition followed was ‘Kadaikkan Vaithennai.’
Vibrant Pantuvarali
Pantuvarali was set to occupy the main stage and Narmadha valiantly presented the raga with all its vibrancy. ‘Siva Siva Yena’ and the niraval at ‘Aagama Mula’ went on full energy mode.
Narmadha’s intelligence in framing very complex and intricate swaras came during swarakalpana, yet the difficulty in reaching the upper region and the eluding notes reflected on the final product.
The vocalist Narmadha is at the nascent stage and yet to evolve into a full fledged singer, her case once again proving that vocal and instrumental work in two different planes. Whatever Narmadha could visualise as an instrumentalist, could not exactly be translated into vocal because of the limitations of the voice range and training.
Bombay Anand on the violin was absolutely at ease and projected the finer features of Begada, Hamsadhwani and Pantuvarali in his responses. Nellai Balaji provided subdued rhythmic support.
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