With all the finer elements
S. SIVAKUMAR
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TVG impressed with simplicity, Sundaravalli displayed a gifted voice and Injikkudi Subramaniam mesmerised with his nagaswaram.
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CLASSY: Injikkudi Subramaniam Photos: K. Pichumani, K. V. Srinivasan and R. Sivaji Rao.
T.V. Gopalakrishnan has absorbed music over the years and that has added sheen to his genius. This was abundantly evident when he sang for Valayapatti's Naadhalaya. He began with a Hamsadhwani kriti ("Ganapathiye," Lalitha Daasar) tuned by Chembai. What followed was a précis-like alapana of Gowlipanthu and the kriti was "Theratheeyagaradha," in which Tyagaraja expresses certain convictions. The rendering was simple, owing complete allegiance to the composer.
TVG's main piece was "Parvathi Naayakane" (Sivan, Shanmukhapriya) in which the finer elements of the raga came through in the alapana. He also included a piece of Nadopasana Srinivasan ("Jaganmadha," Poorvikalyani).
Akkarai Subhalakshmi accompanied TVG on the violin matching the elevating spirit of the singer. She made her presence felt and played a delightful Poorvikalyani alapana. She was comfortable in the swara exchanges too. T.V. Vasan (mridangam) and Shanker (Ghatam) were never overpowering and gave a detailed tani.
Presenting herself in the morning slot, T.V. Sundaravalli rendered a smooth alapana of Charukesi ("Aadamodigalade," Tyagaraja). The lovely phrases suited her kind of voice. In the kriti "Niravadhisugatha" (Ravinchandrika, Tyagraja), a favourite of instrumentalists, the chittaswaram was on the dot.
T. V. Sundaravalli
Dikshitar's "Akhilandeswari" was rendered with the necessary glow at the mandhara sthayi, speaking volumes about true assimilation. One question, however, remains.
With such a gifted voice that can climb down and evoke sublime feelings why does this artiste aspire for run-of-the-mill climb up? Sundaravalli's Poorvikalyani alapana and the song "Jangara Sruthi" by Sudhanandha Bharati had an air of freshness.
She rendered a song in Kapi that was a replicated version of "Jagadhodharana." The original would have sufficed, one thought.
T. V. Gopalakrishnan.
Hemamalini on the violin provided a gliding Charukesi and a pleasurable Poorvikalyani. Her play encouraged the main artiste's manodharma. Ranganathan on the mridangam and Papnasam Sethuraman on the kanjira gave quiet and efficient laya support.
When Injikkudi Subramaniam wielded the nagaswaram, he had you spellbound. It touched your heart and soul. You simply surrendered yourself to his music. The break-neck speed at which "Sobillu" (Jaganmohini, Tyagraja) commenced had a contrasting number follow.
"Teliyaledu Rama" (Dhenuka, Tyagaraja) began with such desirable visranti kalapramanam that one went into raptures. Dhenuka was handled with style and clarity. The sangatis for the pallavi, now pleading, now suggesting, came forth with a serenity that was truly ineffable.
As "Evari Mata" (Kambodi, Tyagaraja) unfolded with an alapana one could visualise the dialogue between Lord Rama and the saint-composer.
``Irakkam Varamal" (Gopala Krishna Bharati, Behag) was played with a charm that was both pleasurable and captivating. The concert concluded with a Meera Bhajan ("Nanda Nandana") where the notes rained with the mellowness of a shehnai. Invaluable nagaswaram support came from Tirukkadayur T.G. Kalidas who closely followed the main artiste.
The tavil accompaniment of Thiruppankur Muthukumarasmy and Thirukadaiyur Babu had all the ingredients of a double-tavil-tani. They were extremely judicious and never hampered the melody during song-rendition.
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