Novelty reigns supreme
S. SIVAKUMAR
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Sudha Ragunathan chose rare compositions and rendered them with clear diction.
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RIGHT PRIORITIES: Sudha Raghunathan. Photo: M. Vedhan.
Sudha Raghunathan's voice has a robust quality that has ripened, and is on the ascendancy, over the years. She has exploited the asset fully and made the effort to delve, locate, internalise and present some rare compositions in Tamizh. In acknowledgement, the audience showered her with applause.
Sudha's choice of items underlined her penchant for novelty. For example, "Sangeetha Devathe Saraswathi" (Mayamalavagowla - Ambujam Krishna), "Athigiri Arulaala Perumal Vandhaar" (Azhwar Pasuram, Atana), "Isayin Ellayai Yaar Kandaar" (Dhandapani Desigar, Shubapanthuvarali), "Tamizhinil Nee Paadu" (Nellai Kumaran, Vijayanagari). The pristine musical elements grasped by these authors/composers were rendered with fidelity and unambiguous diction, clearly stating and registering Sudha's priorities.
Sudha's central piece was "Mahalakshmi Jaganmatha" (Sankarabaranam, Papanasam Sivan). The raga alapana had its rich and variegated flavours of quicksilver brighas, fine-spun delicate sangathis and pulsating traditional phrases to meet the demands of pundits.
The post-tani popular fare included "Enna Thavam Seidhanai," "Kurai Ondrum Illai" (most musicians are obliged to include this) and "Valli Kanavan Perai." Subramania Bharathi's composition, "Parukulle Nalla Naadu," came as a fitting finale. A word of observation here. Sudha's propensity to "get to the top" (higher octaves) of all the songs without exception, needs introspection. Even Subapanthuvarali, classically associated with its plaintive mood, was not spared. This is not in anyway to detract from her imbibed style which has its strong base in original impulses and her sustained vigour during concert. She has the uncanny prowess to traverse through all sthayis with consummate ease and is able to give effective music with characteristic heavy expositions. The applause was contagious.
M.R. Gopinath accompanying on the violin played with restraint but had his hurdles to cross during the swara bouts. Skandasubramaniam (mridangam) fused exceedingly well with the singing pattern of Sudha and together with Raman (morsing) dutifully presented a brief but glowing tani.
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