Dikshitar's Abhogi composition, "Sri Lakshmi Varaham," saw the artiste honing the kriti to praiseworthy levels of perfection. The Todi development brought a touch of serenity with the raga sancharas etched with clarity and bhava. Ramamurthi, a worthy disciple of Lalgudi, painted an alluring portrait with a plethora of phrases steeped in classical values.
"Karthikeya Gangeya" of Papanasam Sivan has captivated the imagination of listeners for decades. Geetha's neat rendition of the song was augmented by spontaneous neraval and swaras in the two tempos of madhyama and dhurita.
The kuraippu and the finale with an appropriate korvai did whet the rasika's musical appetite. Neyveli Skanda Subramaniam's subtle and smooth accompanying skills and individual efforts on the mridangam are much favoured by the main artistes.
Rama Ravi.
With H. Sivaramakrishnan, he shared a lively tani avartanam emphasising quality laya exercise.
The singer's creativity found adequate expression in her alapana of Begada, the first raga in the structure of the Pallavi. Brief essays of the other melodies, Poorvikalyani and Valaji, were sung before the tanam in all the three.
The Pallavi set in Khanda Jathi Triputa Talam with the words "Kanchi Kamakshi Madurai Meenakshi Padhame Thunai" draped in the raga trio, was an imaginative exercise.
N. Ravikiran's Chitraveena concert was proof that he is a breed apart. His alapana of Nattakurinji was scripted with catholicity of taste and a meditative tenor. Akkarai Subhalakshmi, violinist, who is making rapid strides, played a fulfilling essay anchored by mellifluent prayogas. "Mamava Sadha Varadhe," a Swati Thirunal song with fluent neraval and swara passages brimming with life and vitality, provided quality listening time.
One of the Pancharatna kritis of Oothukkadu Venkatasubbaier in Paras with an appropriate gait and classical spirit, and the oral expression revealing the song structure with swaras and sahitya, was a sparkling version with opulent colours.
Umayalpuram Sivaraman's unobtrusive percussive support for an instrumental concert should serve as a model for aspiring youngsters. Syama Shastri's Chintamani kriti, "Devi Brova," perhaps the only one in this raga, preceded by an alapana, was marked by purity in style and presentation. It was obvious that the violinist was well prepared to pick up the raga gauntlet and she acquitted herself most creditably. Sivaraman's rhythmic forays on the Thoppi during the swara kuraippu were glowing laya efforts, while the tani avartanam with K.R. Purushothaman on the kanjira was an epitome of rhythmic excellence.
Rama Ravi belonging to the proud tradition of T. Brinda provided mellifluent musical fare at the Music Academy. She was accompanied by M.A. Sundareswaran on the violin, J. Vaidyanathan on the mridangam and K.V.R.S. Mani on the kanjira. Her fine depiction of Syama Shastri's "Meenalochana" in Dhanyasi with neraval and swaras proportionate to the weight of the kriti was a wholesome musical repast. Pantuvarali, Ramakriya according to Dikshitar's nomenclature, was a fine tuned elaboration with the violinist responding with fragrant prayogas that had a powerful, pleasant auditory impact. Dikshitar's "Ramanatham Bhaje Ham," the lyrical expansion in the Anupallavi, swara improvisations in the madhyama and dhurita kalapramanams denoted the singer's accomplishments in the various genres.
After a stimulating version of Tyagaraja's "Krupajoochutaka" in Chaya Tarangini, the artiste embarked on a voyage of Madhyamavati, exploring its subtle grace and nuances with sancharas of musical integrity and probity. The spotless phrases garnished with raga bhava and soothing melody emerging from the violin were a rare combine of sensitivity and impeccable taste. "Rama Katha Sudha," a pristine gem of Tyagaraja, was interpreted in a style that ushered in a mood of contemplation. The sahitya sequence "Bamamani Janaki Sowmitri" was a disciplined elaboration and the kalpanaswaras were precise in rhythm control.
J. Vaidyanathan and Mani were engaged in a tani avartanam scrupulous in imaginative rhythmic virtuosity.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
