Ragas unfold in splendid hues
G. SWAMINATHAN
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Bombay Jayashree's raga expeditions were a delight.
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EVEN TEMPO: Bombay Jayashree. Photo: R. Shivaji Rao.
What makes a concert appealing to one and all? Proper selection of ragas and related kritis and making sure that the tempo is even. Bombay Jayashree relies on this recipe. No wonder she draws a huge audience. In her three-hour programme, Jayashree divided her attention most appropriately among three ragas: Lalitha ("Hiranmayeem Lakshmim"), Begada ("Nee Vera Kula Dhanamu") and Charukesi (Ragam, Tanam, Pallavi).
Jayashree's raga expeditions were not superficial. She delved deep to delineate the raga in all its hues. The joy she experienced in the process was effectively communicated to the rasika.
Jayashree's voice was at its best and that added to the impact. The neraval and swaras at ``Tyagaraja Vara Hrudaya Nivasa" in ``Nee Vera Kula" at no point was strident but was conceived and delivered with melody and emotional flavour.
Charukesi had its unique undercurrent of mesmerising sombre tenor. Jayashree's involved and internalised raga alapana as well as tanam enhanced its splendour. Her pallavi set in misra jathi triputa talam two kalai was done with precision and perfection sans the ostentation of pedantry.
H.N. Bhaskar, generally competent violinist, surprisingly took some time to settle down. His responses in Charukesi and the ragamalika swaras, however, were full of spontaneity.
Jayashree smartly preset the `tani' in misrachapu after Begada. Nevertheless, Ganapathyraman and Sridhar on the mridangam and ghatam not only executed that part well but added a complimentary `tani bit' after RTP to the delight of the listeners.
The concert that started with "Varasiddhi Vinayaka" in Kanada was spiced with "Samana Rahite" by GNB in Sarangatarangini, and "Mokshamu Galatha" in Saramati, and closed with the mandatory tillana (Lalgudi Jayaraman) in Brindavanasaranga.
They are siblings hailing from the same school of their father but O. S. Thiagarajan and O. S. Arun are poles apart as far as their styles are concerned. While OST is all subtle and tradition, OSA is highly flamboyant and trendy. One was a bit surprised when it was announced that the concert was a duet. But it was not. Each performed independently except for the opening Sri raga varnam and ``Sadinchane," Arabhi pancharatnam.
Thiagarajan's poise stood out against Arun's florid show.
OST 's brisk ``Aparamabakthi" in Pantuvarali with swara section was followed by Arun's heavily accented ``Arul Seyya Vendumayya" in Rasikapriya. OST in his characteristic dexterous way essayed Begada and sung ``Kadaikkan Vaithennai."
It was Arun's turn to entice the audience with his Hindustani blend of Brindavanasaranga and Dikshitar's ``Soundarrajam." Arun additionally complemented his vocal with generous gesticulations too. Varali and ``Ka Va Va" was the main OST piece. Perhaps influenced by his companion, OST indulged in an overdose of kalpanaswaras quite uncharacteristic of him.
Mysore Manjunath had the tough task of alternating between two extremes. But being young, he favoured Arun's style reciprocating with noisy showmanship at the cost of melody. Seniors Srimushnam Raja Rao and Vaikom Gopalakrishnan were predictably on the side of OST.
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