Aesthetics and theory fuse
SULOCHANA PATTABHIRAMAN
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Vedavalli did not disappoint her rasikas in the much-awaited Mudicondan bhani of tanam.
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SCHOLARLY RENDITION: R. Vedavalli. Photo: R. Shivaji Rao.
R. Vedavalli's music through the years has been underlined by dignity and decorum. She has considerably lowered her "Aadara Sruti" but that has not affected the fluency of expression; in fact, she was quite comfortable during her concert. Tyagaraja's "Dhyaname" in Dhanyasi and the swaras with classicism as the vital motif were fluid renditions.
Divyavanti expanded briefly but in becoming fashion found the violinist R.K. Sriramkumar responding with sensitive grace. Dikshitar's two kritis in Divyavanti "Chetasri" and "Akhilandeswari" are as different as chalk and cheese in their raga substance, the former leaning more towards the Carnatic system, while the latter adheres more to the Hindustani style. The vocalist's interpretation of the former brought a touch of grandiose to the composition.
"Arunachala Natham," one of the Panchalinga Kshetra Kritis of Dikshitar in Saranga, and the detailed development of Karaharapriya with perfect fusion of aesthetics and theory, were efforts of genuine quality. The alapana by the violinist, punctuated with rich, melodic contours, was a perfect foil to that of the singer. The Mudicondan bani of tanam-rendering is exclusive, and Vedavalli's tanam is a genre that rasikas look forward to in her kutcheris. Her scholarly, gripping tanam on this occasion spelt class, with a capital C. One expected a pallavi with more rhythmic craftsmanship from the vidushi, but she chose a simple pallavi in Adi tala, two kalai.
Neyveli Narayanan (mridangam) and Karthick (ghatam) are much favoured percussionists in the contemporary kutcheri circuit. Their tani avartanam suffused with all laya requisites was a wholesome rhythmic landscape. Seetha Rajan, a disciple of Semmangudi Srinivasa Iyer, adheres to her guru's bani with great fidelity. Her Academy concert with Hemalatha on the violin, Tiruvarur Vaidyanathan on the mridangam and Adambakkam Shankar on the ghatam had Patnam Subramania Iyer's "Manasukaruga Demo" in Hamsadhvani with a string of swaras, creating the atmosphere for a quality performance. Semmangudi's forte was the madhyama kala swara prastharas that were sung with total bhava highlighting the raga's rakti.
Seetha's swara passages in true Semmangudi fashion for Dikshitar's "Pahi Ratnachala" in Mukhari would have done her preceptor proud.
Malayamarutham, ideally suited for a morning concert, was a systematic development.
SEETHA RAJAN Photo: R. Shivaji Rao.
Hemalatha who is creating waves as an accomplished accompanist, scored high on the scale of melody with her clean, firm bowing, deft finger movements and imaginative phrasings. The neraval for "Dhanyu Devvado" in the charanam and the swara improvisations with the accompanists supporting her to the hilt filled the auditorium with a lively cadence. R. Venugopal's "Manavini Vinuma" in Nalinakanti with a winsome chittaswaram was indicative of the composer's merit. Varali was a melodious, positive dissertation and despite the singer's vocal chords being slightly affected by the Margazhi syndrome, the auditory effect was impressive.
The violinist's reply was capable, but for the innate nature of a raga like Varali, the prayogas slow and soothing dotted with karvais would be more effective and appropriate than the madhyama kala sancharas. "Neeraja Nayana Sri Tyagaraja Nutha," the lyrical passage in the song "Nepogadakunte," was expanded with order and method, and the swara kalpanas, free of overwhelming calculations, were pleasing.
The regal splendour of Sankarabharanam is such that the more one listens to it, the more charming it is. The singer's discerning analysis showcased in ample measure the raga's rich dimensions. Vaidyanathan is an innovative, intelligent percussionist who maintains the required momentum on the performing platform. His tani avartanam with Adambakkam Shankar, also an experienced ghatam player, was a meticulous laya interlude in Misra Chapu.
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