Culture, competence and control
P. S. KRISHNAMURTHI
|
Panthula Ramaa's concert was testimony to her sound training and voice culture.
|
PANTHULA RAMAA. Photo: R. Ragu.
That she was in total control — tempo, depth, quality, et al — was evident from the first humming that emanated from Panthula Ramaa.
There was fine training behind the competent rendition of the varnam, "Gaja Vadanam Asraye," in Kedaram followed by a very short sketch of Mayamalavagowla and "Meru Samana."
Modulating her rich and powerful voice without being intrusive, Ramaa came out with volleys of swaras, which had bullet-like impact and bell-like appeal.
Melody was never at a premium though "Venugana Lola" (Tyagaraja, Kedaragowla) and Tyagaraja"s "Anathudunu Gana" in Jingla, came at breakneck speed. The durita raga alapana before the song was masterful. Ramaa"s elaboration of Mohanakalyani drew spontaneous ovation from the audience. She dealt with Swati Thirunal"s "Sevey Srikantam," not commonly heard, for over 15 minutes.
The main piece of the concert, Tyagaraja"s "Endu Dagi Naado," (misra chapu) is again a kriti one does not get to hear frequently. Prefaced by a chaste alapana, handled in a dedicated manner, and embellished by neraval and swaras atcharanam, "Ala Ladu Kanaka Kasipu," it was the high point of the concert.
Conscious `voice culturing' is an aspect regrettably denied the same attention of most south Indian artistes as honing arithmetic skills through challenging complex swara prastharas. In Ramaa, the great contribution such training makes to the wholesomeness of the musical fare stood out. Her facility with brigas and gamaka sancharas alike, the comfortable reach of her voice from mantara panchama to tara-sthayi panchama lent as much value to her performance as strict discipline and training .
M.S.N. Murthy reflected the same traits of confidence, competence and commitment. He was thorough with his homework and effective on the violin.
Whether in the slow measured steps of Todi alapana or in the rushing pace of durita-kala-swaras, he was (and kept the listener!) equally comfortable.
M.S. Varadan"s accompaniment was truly an aid, maintaining not only continuity in rhythm but supplementing the sruti with his well-tuned "meettu". His tani was notable for being short in duration and lasting in impression.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
