Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
Rich imagination and vision
|
Jayanthi Kumaresh’s veena recital needed a more exhaustive exploration, Swarnalatha Nagaraj’s concert had features rarely seen in kutcheris
|
MELLIFLUOUS Swarnalatha Nagaraj and disciple Sunethra; (and right) Jayanthi Kumaresh
Jayanthi Kumaresh’s veena recital at Ganabharathi in Mysore was a tuneful, more than a transcending experience. Tumkur B Ravishankar (mridanga), B. Shashishankar (ghata) and Ramanujam (morsing) accompanied her.
Never the less, there still some areas that need exhaustive exploration, which would have led to disarming experiences that the selected compositions were potent enough to create.
The artiste’s fluency on the fret was not in proportion with her rich imagination and vision. This was an expectation considering her scholarship, exposure and potentials. One could feel what she intended to present, but could not get what was in fact wished.
On a few occasions she remarkably displayed movements that vouched for transformations of dexterity into spontaneity. They were abundant in her interpretation of Kiravani in detail, before presenting a pallavi, “Kamakshi maathangi bhavani”.
Her approach to gamakas and thanas pointed at characteristic musical traits she has inherited from her Guru Balachandar. Yet, with due care she could have avoided discrepancies in the tharasthayi sancharas: tripping curves causing uneasiness.
Somehow, she could not treat the other numbers with the same depth, which characterized the above ones. “Seethamma maayamma” (Vasantha-Thyagaraja) stood out for the raga more than for the lyrics. Therefore, the tune reached the mind, without being adequately strengthened by the sentiments ingrained in the lyrics.
In this presentation, the pattern of swarakalpana swept the hall; and her approach gave ample scope for the percussionists to blend rhythm components with the emerging melodic passages.
Other highlights were “Sidhi vinayakam anisham” (Shanmukhapriya-Dikshithar), “Seethapathe” (Khamach-Thyagaraja), “Shankari shankuru” (Saveri-Shyamashastri-with a pleasing alapana) and “Venkatachala nilayam” (Sindhubhairavi-Purandaradasa) and so on.
* * *
Swarnalatha Nagaraj sang with her disciple, Sunethra, under the auspices of Shri Thyagaraja Sangeetha Sabha recently. H.S. Thandavamurthy (violin), Bhargava (mridanga) and Kumar (ghata) accompanied the artistes.
The concert elicited a mixed response. Some of the features are rarely seen in kutcheris of reputed artistes — an ideal progression, devoid of any ostentation, very congenial for the expressions of lyrics.
The above plus point, in addition to devotional fervour, and dedication by itself, were quite adequate in rendering the concert absorbing and contemplative. On the other hand, the quantum of embellishments left a marginal lacuna.
“Sarasijanabha” (Varna-Kamboji-Swathi Thirunal / Vadivelu), “Varasidhivinayaka” (Manirangu-R.N. Doreswamy) and “Samanamevaru” (Kharaharapriya-Thyagaraja) confirmed the observation that it was the ideal laya, falling between vilamba and madhyama that exemplarily played a vital role in realising the element of bhakti the composers had intended to convey.
This turned out to be true while the singers presented the main body of “Kamaskhi kamakoti” (Simhendramadhyama -Dikshithar) as well.
Whatever may be the drawbacks in the form of either the vocal capabilities or attractive intricacies, sahithyabhaava unmistakably took a lead in all the lyrical sections.
Other inclusions were “Anupamagunambudhi” (Atana-Thyagaraja), “Banturithikolu” (Hamsanadha-Thyagaraja), Thillana (Brindhavani – M. Balamuralikrishna) and others.
V. NAGARAJ
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
