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Sound training
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R. Raghuram’s uncompromising commitment to classicism was augmented by a robust and pliable voice
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YOUNG TALENT Srimatha.
R. Raghuram, accompanied by C.A. Nataraj (violin), M. Gururaj (mridanga), Karthik Mani (ghata) and M.C. Rangarajan (morsing), presented a vocal concert under the auspices of Raga Sangama at Bangalore recently.
The navaragamalika varna in adithala, and the Deekshithar composition “Mahaganapathim” in Natta raga that followed, got the performance off to a vibrant start.
Thyagaraja’s “Marugelara” in Jayanthasri was succeeded by a chiselled alapana of Reethigoula and Swathi Thirunal’s “Paripalayamam” in rupaka thala. A quick change of tempo was effected with “Telisi ramachinthanatho” in Purnachandrika, prior to a sedate presentation of “Devadeva kalayami” in Mayamalavagoula, supplemented with neraval and abundant kalpana swaras at “Jatharoopa nibhachela”.
The heavy classical contours of Bhairavi were next revealed in the raga alapana and in the rendering of “Sariyevvaramma”, set to khanda jathi jhampa thala, at an unhurried pace. A detailed neraval at the charanam line beginning “Madhava sodari”, ideally suited to the exercise with the widely spaced deployment of its sahitya syllables, and the ensuing kalpana swaras in two speeds, were infused with raga bhava, and bore testimony to sound training and uncompromising commitment to classicism, augmented by a robust and pliable voice.
R. Raghuram.
Unobtrusive accompaniment by the violinist, and a high level of synchronisation among the three percussionists in the sparkling thani avarthana, heightened the overall effect of the item.
“Nanoru vilayattu bommaya” in Navarasakannada, “Rama rama” in Thilang and a thillana in Revathi provided a fitting finale to the concert.
* * * Toto Funds the Arts and Ananya jointly presented a vocal concert by Srimatha recently.. B.K.Raghu (violin) and Adamya (mridanga) accompanied her.
The concert commenced with “Ninnukori”, the adi thala varna in Vasantha raga. Panthuvarali was next taken up for a short alapana followed by the Swathi Thirunal krithi “Sarasksha paripalaya” set to adi thala, with a few kalpana swaras affixed to the charana line “Bhamini samudayasana mohana”. A Purandaradasa composition in Mohana raga and misra chapu thala was followed by an elaboration of Bhairavi, the main raga of the recital. “Lalithe sripravriddhe”, a composition of Thyagaraja in adi thala, incorporated a neraval, and kalpana swaras that culminated in cycles of diminishing length ending at the panchama, accentuated by adroit support from the violinist and followed by a skilful tani avarthana.
Each item was introduced with brief explanations of its musical and rhythmic structure, for the benefit of those in the audience unfamiliar with the technicalities of the genre. While clarity of voice and enunciation, and a commendable degree of self-assurance were the vocalist’s main assets, a more dedicated and serious approach and assiduous practice will impart greater maturity and depth to her performance.
MADHAVI RAMKUMAR
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
