Promising talent
G. SWAMINATHAN
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Clarity and relaxed gait were the notable aspects of Divya Murali’s concert
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Photo: M. Karunakaran
Proficient: Divya Murali.
It is good to see young professionals exhibit talent. A demanding work schedule notwithstanding, these aspirants learn and attain certain level of proficiency in the chosen field. To this league belongs Divya Murali, an IT professional, who showed promise as a vocalist in her concert at TTD hall last week. Accompanying her on the mridangam was Narayanan, a second year chemical engineering student, who is honing his percussion skills with Guruvayur Durai. Srilakshmi Venkataramani supported the vocalist on the violin.
Two notable aspects of Divya’s vocal are she sings with clarity and sowkyam. The Mayamalavagowla varnam of Swati Tirunal was pepped up with ‘Vandeham jagat’ (Annamacharya) in Hamsadhwani with a chittaswaram and a few rounds of kalpanaswaras. An exploratory essay of Hindolam (‘Ramanukku mannan mudi’ of Arunachalakavi), a slightly jumpy Poorvikalyani (‘Padmavathi Ramanam’of Oothukadu Venkatakavi), a commendably structured Sankarabharanam (‘Enduku beddala’ of Tyagaraja) were the main items of Divya’s concert.
The gaps were filled with ‘Okapari kokapari’ in Kharaharapriya (Annamacharya) and ‘Tirupathi malai melae’ in Yamunakalyani (Neela Ramamurthi).
Practice and guidance
The confidence Divya exuded in the rendition of the kritis was marginally missing in the raga essays. No doubt, the voice is properly exploited in the upper, middle and lower segments but the phrases in some places sounded a little uncertain. This, the young singer can overcome with practice and the expert guidance from her guru Vasundhara Rajagopal.
The swarakalpana earlier in Hindolam and later in Sankarabharanam with gandharam as the focal note were woven well.
A slightly faster pace and azhutham would have made the niraval in ‘Veda sasthra’ more appealing.
Srilakshmi Venkatramani encouraged the vocalist with her leads in alapana and swaras. Narayanan had to face the slipping of the sruti of mridangam in the early part which was fixed later. His fingers played on the instrument with soft but sure strokes. His tani avartanam was well designed and neatly executed.
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