Experience is its own reward
LALITHAA KRISHNAN
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Prema Rangarajan underlined that a bhava-oriented approach has much to offer.
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MATURE AND MELLOW: Prema Rangarajan. Photo: R. Shivaji Rao.
Prema Rangarajan is a senior disciple of Dr. S. Rajam and Sulochana Pattabhiraman and an accomplished vocalist of long standing. Listening to her, one was left with the conviction that experience is its own reward. It adds maturity to musical expression and lends lustre to melodic interpretation.
The artiste's voice was supple yet mellow, a willing vehicle to convey her intention to the chosen destination. The Manirangu raga in the composition "Sri Rukmini" was sedate and stately, with sarvalaghu swaras reflecting ragabhava. Muthuswami Dikshitar's "Guruguhaaya" (Sama) was a haven of comfort and a timely reminder that a bhava-oriented approach has much more to offer than breakneck pace.
Kalyani was not calculated to impress through sensational effect. It soothed and reassured with the promise that the sphere of fine music can exist unsullied by showmanship. Sowkhyam was the predominant element reinforced by medium-paced whorls, weighty sancharas and meaningful karvais. Tyagaraja's "Eta Vunaraa" was rendered with fidelity to patanthara; kalpanaswaras spiced with swara calculations during the final kuraippu, tidily executed by the violinist as well. The lighter pieces, "Devi Sharade" (Chandrakauns) and "Maa Maduraapuri" (Bagesri) were delivered with convincing simplicity devoid of frills. Charumathi Raghuraman, the young violinist, was consistently up to the mark with her essays of Manirangu and Sama clearly defining raga swaroopa. Manikkudi S. Chandrasekaran (mridangam) impressed with his subdued accompaniment. His tani avarthanam was authoritative without being aggressive.
Concert music is an amalgam of intellect and emotion in varying proportions. Both the head and the heart, compete for supremacy. In K. Gayathri's vocal recital, heart triumphed over the mind. "Sri Mahaganapathim" in Atana constituted a bright effort with intelligent poruttams for kalpanaswaras. The kriti's kalapramana could have been slower to define ragabhava with greater ease.
Came Ramapriya, when, seized by some gremlin of impetuosity, the vocalist let loose a volley of brikhas, some of which had a definite start but an uncertain finish, covering shaky terrain in between. Speed without clear direction and absolute command over raga swaroopa is like a runaway horse, difficult to redirect on course. Fortunately, the young vocalist struck a balance with her homing-pigeon instinct for the classical idiom.
Next, the speed bug bit the violinist, B. Ananthakrishnan, who came up with some startling permutations chiefly distinguished by their shock value. The neraval and swaras at "Sarivari" drew appreciation as did the popular "Yeppo Varuvaro." With plenty of talent and potential, what Gayathri needs is a focussed perspective. Her voice is free flowing and malleable but requires further strengthening in the mandra sthayi. R. Sankaranarayanan on the mridangam lent satisfactory support.
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