Adept renditions
SIVAPRASAD
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Poornima Krishnan’s orthodox ‘baani’ was an aural treat.
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Fine blend: Of voice, music and rhythm at Poornima Krishnan’s concert.
A fine blend of voice, music and rhythm was what made Poornima Krishnan’s concert at Kalikota Palace, Thripunithura, different. Her orthodox ‘baani’ was music to the ears.
Poornima began her concert with the Saranga varnam, ‘Inthamodi seyya…’ by Tiruvotriyur Thyagayyar and followed it up with a Tyagaraja kriti ‘Sree Raghukula…’ in Hamsadhvani. The concert warmed up with the popular Swati Tirunal kriti ‘Paripaalayamaam…’ in Reethigoula.
The characteristic features of Poornima’s baani came through in her rendering of the famous GNB kriti ‘Maarakoti sundari’ in Bahudari. The soft handling of Poorvikalyani, enriched with a pure raga alapana and the choice of Swati kriti ‘Deva Deva Jagadeeswara,’ set the concert flowing.
Though Poornima’s singing of the various kirthanas were at a leisurely pace, one thought the concert had too many of such numbers like the Dikshitar kritis ‘Gowreesaaya namasthe…’ in Arabhi, ‘Ardhanareeswaram…’ in Kumudakriya, Tyagaraja’s ‘Yevarura…’ (Mohanam) and ‘Sringaara Lahari…’ (Neelambari) by Mysore Aliya Lingaraj Urs. It was interesting to hear Kumudakriya raga, the janya raga of Kamavardhani. And the kriti she chose is the only known composition in this raga. Lingaraj’s kriti is heavy in ‘sahithya,’ like those of Syama Sastri, but not quite popular and rarely sung in concerts.
Highlight of the evening
Poornima then moved on to Kamboji, the main raga of the evening. Her delineation of the raga revealed her proficiency. She chose Dikshitar’s popular composition ‘Kailasa nathena…’ which was a good choice as it brought out the depth and shades of the raga. She also rendered a ragamaalika of Swati Tirunal, ‘Saanandam Kamalamanohari…’ where Kamalamanohari, Hamsadhwani, Revagupthi and Tharangini ragas are joined to enhance the beauty of the kriti. She then rendered a tillana composed by Papanasam Sivan before concluding her concert with the traditional mangalam.
Kallekulangara Unnikrishnan did a good job on the mridangam. Never once did the audience feel the lack of a ghatam or ganjira. He carried off the short ‘thani’ well. Experienced violinist Nedumangad Sivanandan controlled the flow of the concert brilliantly. The concert was held under the aegis of the Sree Poornathrayeesa Sangeetha Sabha.
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