Passionate Karaharapriya
PREMA HARIHARAN
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Sangita Sivakumar underscored her maturity through sensitive raga delineations.
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Photos: R. Shivaji Rao and S. R. Raghunathan
Mambalam Sisters.
That Sangita Sivakumar's voice has acquired more depth was evident from her concert at the Music Academy. Her musical maturity could be observed throughout the concert, which started with the Sahana Varnam sung in two speeds. "Swaminatha" in Naatai with sprightly swaras in the charanam was followed by Kalyani.
Kalyani, though short, brimmed with meaningful phrases. Syama Shastri's "Birana Varaalichi" with neraval in "Shyama Krishna Sodhari" was improvised efficiently by Sangita.
It was in Karaharapriya that some passionate singing was observed and Tyagaraja's outstanding composition "Pakkala Nilabadi" was presented with total involvement. The neraval in "Manasuna Thalachi Meimarachi Unnara" was engaging and the elaborate kalpanaswaras with appropriate korvais gave the kriti much dignity.
The Saveri (RTP) delineation by Sangita revealed her high calibre and the tisra triputa tala, chaturasra gathi pallavi with atheetha eduppu was effortlessly executed. The silken bowing of Charulatha Ramanujam was amazing. She excelled in her rendering of Karaharapriya and Saveri. The mridangam accompaniment by B. Sivaraman was cooperative and lively.
Sangita Sivakumar.
M.R. Subramaniam has a ringing voice, which is capable of travelling up and down with ease.
With a little more involvement and sensitivity, his music would have created a good impact on the listeners. The first three pieces (Nattai Varnam by Parameshwara Bhagavatar, "Tattvamariya Tarama" in Reeti Gowlai by Papanasam Sivan, and "Tulasidala" in Mayamaalava Gowlai by Tyagaraja ) were rendered mechanically. Mohanam was treated with some good phrases. In the kriti, the Antara Gandharam, which was a little higher than the limit, sounded like Suddha Madhyama. After a very fast "Neekelana" in Devamanohari by Ramanathapuram Srinivasa Iyengar, Kalyani was chosen for elaboration.
It was in Kalyani that the much expected involvement and sensitivity were found.
S. Devanathan played on the violin. M. R. Sri Krishnan's mridangam accompaniment was brisk. The concert of Mambalam Sisters — Chitra and Vijayalakshmi — was sumptuous. Quite a number of kritis with a variety of ragas and talas made the concert interesting. Starting with a Ranjani Varnam composed by B.V. Raman, the sisters invoked Ganesha with a Dikshitar kriti in Arabhi set to Misra Chapu tala.
The Asaveri composition of Tyagaraja, "Mapala Velasina," could have been sung in a slow pace and with more involvement.
Latangi was dealt with by Chitra, who seemed to be interested only in the higher octave sancharas. Even in the neraval and the swaraprastharas of "Marivere," the lower sthayi was ignored.
Vijayalakshmi's handlingof Todi was neat, though one felt there could have been more `Nidhanam.'
The magnificent kriti, "Koluva Maregatha" with neraval in "Tambura Chekoni" and the swara kuraippu were presented efficiently. The Ragam-Tanam-Pallavi in Reethi Gowlai was given a just treatment. The artistes deserve praise for their time management.
Jyotsna sparkled in her raga essays and swaraprastharas. One can find a very refined violinist in her. Mannarkudi Srinivasan's mridangam accompaniment was good and the tani avarthanam shared by him and K.S. Rangachari was enjoyable.
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