Satisfying, enriching performance
PREMA HARIHARAN
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Pushpa Anand's clear voice with perfect sruti alignment made her concert enjoyable.
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PUSHPA ANAND
Pushpa Anand gave an entirely satisfying concert at the Music Academy. A clear voice with perfect sruti alignment made it easy for Pushpa to create a good musical atmosphere. The concert started with a bright Kedara Gowlai Varnam. "Deva Deva Kalayami," the Mayamalavagowlai kriti of Swati Tirunal, was embellished with crisp swaras. Latangi raga was preceded by "Marubalga" in Sriranjani. In ragas such as Sriranjani where the Panchama is absent, care should be taken not to use it even as an anuswara. The Latangi essay had composure. Though it was brigha-oriented, satisfying long karvais gave the raga much dignity. After the breezy rendering of "Marivere Gathi" by Syama Shastri in Ananda Bhairavi, Pushpa embarked on the magnificent Khambodi. She succeeded in her attempt to paint a neat picture of the raga and the rendering of the kriti "Evari Mata" was perfect to the core. The neraval improvisation in "Bhakta Paradhi" and kalpanaswaras gave much satisfaction. The two abhangs rendered after the tani avartanam created a serene atmosphere with which the concert concluded.
VASUNDHARA RAJAGOPAL
The experienced violinist Hema Malini gave much support and her raga essays were commendable. Umayalpuram Kalyanaraman's mridangam accompaniment enhanced the concert effectively. With a majestic voice and musical awareness, it was not difficult for Vasundhara Rajagopal to make a mark. She was clear and confident in her rendition. A bright Todi varnam was followed by Tyagaraja's "Muddu Momu" in Suryakaantham with lilting swaras in the Pallavi. A rich and melodious Varali was efficiently elaborated by Vasundhara. The kriti "Seshachala Nayakam" with neraval at "Aravinda Patra Nayanam" and swara prastharas were rendered with emotion. Papanasam Sivan's "Kapali" preceded the Madhyamavathi raga. Bhava-laden phrases emerged with punch and precision. Tyagaraja's "Adigi Sukhamu" was given a fitting treatment. The neraval improvisation, and the sarva lagu swaraprastharas created a good impact. This misra Triputa, thisra gati, 2/3 eduppu Pallavi sung in rakti ragas such as Atana, Khamas, Deva Gandhari and Reethi Gowlai was very innovative and a real treat for the connoisseurs. The Atana delineation was very spontaneous. The concert was rounded off with a Meera Bhajan and a Tamil devotional song. Violin by Kandadevi Vijayaraghavan was adequate. Nellai Balaji on the mridangam played a very good tani after the Pallavi.
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