Blending the brisk with the sober
GOWRI RAMNARAYAN
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While Bhairavi and Malavi proved that duet has its advantages, Lakshmi Rangarajan would settle for only the best.
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APPEALING: Bhairavi and Malavi. Photo: V. Ramamurthi
Duet singing has its advantages. It heightens timbre and adds variety as Bhairavi and Malavi proved at the Narada Gana Sabha. No shrillness in either voice, a major plus point for classical music. With further honing and modulation, the blend should become more appealing.
"Chala Kallaladu" (Arabhi) and "Parvatikumaram bhavaye" (Nattakurinji) were enough to establish their sound training that enables them to blend the brisk with the sober.
Arabhi fulfilled the need of the raga for swift flow in alapana and brisk swaras in the kriti.
Simhendra madhyamam showed a good grasp of alapana technique and the attempt to achieve a rounded fullness in execution. Mysore Vasudevachar's "Ninne nammiti nayya" continued the effect. Kalpana swaras had verve and spirit. "Siva Siva Siva bho" (Nadanamakriya) was another fine choice for the post tani segment, rendered with suitable gravity.
B. Ananthakrishnan on the violin and B. Srivatsan on the mridangam gave solid support.
Her "Mamavatu Sri Sarasvati" outlined a fine Hindolam untouched by Hindustani prayogas, with swaras bright and distinct. In fact right through her recital Lakshmi Rangarajan refused to settle for anything other than pure gold. Her Pantuvarali indicated long immersion in the raga, and absorption of gamaka pradhana kritis by many composers. Her choice that afternoon was impeccable. "Ramanatham bhaje ham" could not but extend the mood of the alapana. The swaras were in consonance with this classicism.
With these advantages, the singer is still not able to maintain steadiness in the higher sancharas. Come gandhara in the upper octave and the voice becomes weak.
In kriti singing this is not so obvious as one saw in "Teliyaleru Rama" (Dhenuka) where the slow pace allowed the bhava to express itself. Sankarabharanam brought a surprise.
After a Tamil viruttham, which one relished, the singer plunged into "Artha piravi", linking it to a neraval in the evocative line "Vartaiyum pesi."
Her enjoyment of the music was infectious. But once again the fading of the voice in the upper octave, so crucial to Sankarabharanam, lessened the impact.
The singer was sensitive to rakti prayogas in Todi. In "Dasharathi" which followed, the neraval and second speed swaras enhanced the chaste feel of the raga.
Padma Sankar (violin) was supportive while Trivandrum Balaji (mridangam) and Srirangam Ravi Krishnan (ghatam) highlighted the mood and brought off a tani of sharp exchanges.
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