SRI THYAGA BRAHMA GANA SABHA
Exploration of emotions
LALITHAA KRISHNAN
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Gayathri Venkatraghavan's music emphasised raga bhava.
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Gayathri Venkataraghavan.
Gayathri Venkatraghavan's music reflected a growing maturity in her deployment of krithi and kalpanaswara to explore raga bhava.
There was a conscious effort to delve into the emotive content of krithis.
Differing approaches in raga treatment also succeeded in imparting contrasting textures to alapanas. Pantuvarali was dominated by the use of a plaintive nishada in key phrases and the `sa... .ri ni' motif in the upper octave.
Swathi Tirunal's `Saroruhaasanajaaye' was sung with involvement, the kalpanaswaras gathering sheen as they stopped to smell the flowers along the way; however, the slight over-oscillation of gamakas in the concluding swaram could have been avoided.
In Hindolam, the use of kuzhaivu focussed on conveying beauty through simplicity. An especially noteworthy aspect of the main Sankarabharanam alapana was the exploration of the tara sthayi shadja-gandhara suite through bhava-laden prayogas.
The measured gait of kriti, neraval and swaras in Tyagaraja's `Manasu swaadhina,' reinforced the impression of vistara. Crisp korvais enlivened the tani of Mannarkoil J. Balaji (mridagam) and Madipakkam Murali (Ghatam). Charumathi Raghuraman quickly captured the vocalist's portrayals, spontaneous sancharas winning appreciation.
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