Adhering to guidelines
SVK
|
Vijayalakshmi Subramaniam maintained consistency and evenness in tonal modulation.
|
Vijayalakshmi Subramaniam.
Vijayalakshmi Subramaniam's performance for the Sri Thyagaraja Seva Samiti's Bahulapanchami ably brought out the unified excellence of sahitya and sangita by the way she rendered the saint's compositions with clarity.
Her particular style and
content in the raga alapana strictly
adhered to text-book guidelines not
inspired by aesthetic flashes.
The raga portraits were quintessentially
sedate, methodical step-bystep
development. The violinist Akkarai
Subhalakshmi's solo versions
were focused on gripping sancharas
well anchored in qualitative
picturisation.
Vijayalakshmi revealed a sense of
ease in her expository technique both
in the madhyama and tara sthayi negotiations.
Subtle music reflects the
inter relationship between aesthetics
and vision which is abundant in Sri
Tyagaraja's kritis and mere rendering
generates dignified appeal. Vijayalakshmi
put her faith on this aspect for
there were only two alapanas - Vachaspati
and Saveri. In handling these
ragas there was consistency and evenness
of tonal modulation.
Authentic quality
In the violinist's approach there
was a distinctly authentic quality. The
raga sancharas of Vachaspathi (`Kanta
Joodumi') and Saveri were meticulously
chiselled. There were many
clever turns of phrases dressing up the
different facets particularly in the presentation
of Saveri. Vijayalakshmi's
objective was continuous progress in
the alapana process underlined by
strict conservatism. Between the vocalist
and the violinist the musical cul-
ture built over the decades was well
preserved.
The concert lacked liveliness because
of the selection of songs - `Ra Ra
Ma Inti Daka' (Asaveri), `Kanugonu
Sowkhyamu' (Nayaki), `Evvare Ramaiah'
(Kangeyabhooshani) and `Rama
Bana' (Saveri) These ragas and
songs were mainly soft-textured demanding
extraordinary vocal depth to
make them vibrant. The satisfaction
to the rasikas arose from the lucidity
with which the kritis were sung.
`Evarani' (Devamritavarshini) and
`Anupama Gunaambudhi' (Atana)
were two brisk items.
Madirimangalam Swaminathan
kept the percussive sector in good
shape. His beats were firm and strong
vividly supportive in the song session.
The thani was impressively inlaid with
fascinating korvais and mixed jatis.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
