Swara improvisations impress
In a well-planned concert, Amrita Murali, known as an accomplished violinist, displayed her ability as a singer too. Starting with the Todi varnam sung in two speeds, Amrita proceeded to sing "Ramanannu Brovara" in Harikambodi. The flow of the sarvalagu swara passages in the charanam was appealing. The methodical development of Poorvikalyani was followed by "Ninnu Vina" of Syama Shastri in which Amrita impressed with her swara improvisations.
After the leisurely rendering of Dikshitar's "Amba Nilayadakshi" in Nilambari, Bhairavi was chosen as the main raga. Amrita's adherence to sampradaya was evident here. "Tanayuni Brova" of Tyagaraja with the neraval in "Vatsamu," and its extensive imaginative swaras were satisfying. The Kedara Gowlai javali and the Thiruppavai brought the concert to an end.
Raga delineations by the violinist, S.P. Ananthapadmanabhan, were flawless but he should pay more attention to his swara exercises. Mridangam by P.K. Babu was cooperative.
Bhushani Kalyanaraman
Though her voice sounded strained at times, Bhushani Kalyanaraman made a good effort to present an impressive concert. The Nattakurinji varnam and "Karikalavamukam" in Saveri opened the concert. The Saveri kriti could have been sung with more embellishment and sophistication. With a high pitch and sruti-aligned voice, Bhushani attempted to present an elaborate version of Kambodi.
Dikshitar's creation, "Kailasa Nathena," was neatly rendered. That Bhushani is capable of good singing was proved by her neraval in "Charu Sarat Chandra" and arithmetical swaraprastharas. "Upacharamulu" in Bhairavi was the main piece and the neraval and swaras were rendered carefully. With the experience gained through the years, Bhushani should have performed with more confidence. Latangi (RTP) in Kanta Triputa 2/4 Eduppu with ragamalika swaras was presented.
Gayatri Girish (file photo)
Violinist Melakaveri Thyagarajan played with clarity. Mridangam by Mannarkudi Subramaniam was engaging. His tani proved he is a sensitive player.
Sangita Vasudevan seemed to be more interested in calculative swaraprastharas. An Atana varnam was the opening piece, followed by "Varvallabha" in Hamsadhwani. Spontaneity was lacking in her Hemavati raga delineation.
Saaswati Anand
"Shrikanthimateem" of Dikshitar with swara improvisation in the pallavi was followed by a quick rendering of "Manavyala" in Nalinakanthi. After the Mohana raga essay, "Mohana Rama" with highly arithmetical swara passages was presented. Sangita could have given importance to the neraval improvisation either in Hemavathi or Mohanam. The concert came to a conclusion with a Sindu Bhairavi Kannada devotional and a tillana in Brindavana Saranga.
Violinist S. Karthik proved he is a fine player and Aswin Sridharan on the mridangam was lively.
Sangita Vasudevan.
Saaswati Anand commenced her concert with a bright varnam in Nalinakanthi by Lalgudi G. Jayaraman. Though her voice was unsettled in the initial stages, it gained depth and clarity as the recital progressed. Pantuvarali raga and the piece "Ninnu Nera Nammi" were treated well. Her voice has a commendable range, which helped her explore the beauty of Sankarabaranam.
Syama Shastri's "Saroja Dalanetri" with swara improvisation impressed the listeners. The swaras were delivered with fluency and ease. With the tillana in Rageshri the concert came to an end.
Sri Lakshmi Venkatraman's violin accompaniment was refined and cooperative. B. Jayanth gave able support on the mridangam and his tani was lively.
The concert of Gayatri Girish was noteworthy for its quality and efficiency. She has perfect control over her voice, which enabled her to handle the ragas with ease. After a very lively rendering of Arabhi and "Naada Sudarasa" with spirited swara passage, "Sukhi Evaro" in Kanada was presented with much devotion. Long years of disciplined training were fully reflected in her music.
The niceties and nuances of the great raga Bhairavi were fathomed. The authentic rendering of Syama Shastri's "Sari Evaramma" with detailed neraval improvisation and swara passages was much satisfying.
Gayatri rendered an outstanding Hamsanandi in which a very neat tanam and pallavi in Kanta Triputa, Chaturasra Gati, 3/4 Eduppu thrilled the listeners. She attempted a sruti bedham pattern in which three ragas (Hindolam, Suddha Saveri and Mohanam) were derived, and executed it with brilliance. The concert concluded with an Ashtapadi in Misra Sivaranjini.
Violinist Sanjeev played an enchanting Bhairavi and his swara answers in the pallavi proved that he is making a mark in the music world. Delhi Sairam on the mridangam and Guruprasad on the ghatam made a good pair. Their playing was highly sensitive and appropriate.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
