HAMSADHWANI
Impressive show, sincere effort
G. SWAMINATHAN
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The 12th NRI Festival of Hamsadhwani provided ample scope for various kinds of talent to perform.
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Photos: K. N. Muralidharan.
DIFFERENT DIMENSIONS: Jayalakshmi Sekhar
Dr. Sanjay Subramaniam's vocal concert at the 12th NRI Festival of Hamsadhwani was sober and delicate but hesitant.
Neither voice nor training was a problem for this medical doctor from Seattle; it was the confidence level. A slightly dithering sruti and swarasthanam in some places made the listener wonder if a little more assiduousness could have made things better.
Opening his concert with `Srisankara Guruvaram' in Nagaswarali, Sanjay tried to warm up through `Ranganayakam Bhavaye' in Nayaki and `Devi Brova' in Chinthamani. Are they really warming up pieces? They are actually `speed controllers' in a concert. How could Sanjay choose them even before the concert picked up tempo?
However, Sanjay's Madhyamavati and Todi alapana cannot be dismissed as half-hearted efforts. They expressed his knowledge of these ragas, only the projection was frail. A little more authority would have placed his concert on a different plane.
The swaras and neraval for `Rama Katha Sudha' (Madhyamavati) and `Kanja Dalaya Dakshi Kamakshi' (`Ninne Nammi' in Todi) proved Sanjay's potential to weave interesting swara sequences, but again the execution fell flat. Violinist Radha Sundaresan, with her experience, maintained the balance with precise but potent versions of the main ragas. Erode Nagaraj on the mridangam showed absolute control.
Yamini Ramesh (New Zealand) had designed her vocal recital on an impressive format. `Varanamukhava' in Hamsadhwani followed the opening Sriraga varnam.
`Sri Rama Padama' in Amritavahini preceded a Latangi essay. `Venkata Ramana' and the neraval swaras at `Alarmel Mangai' gave the necessary impetus to her concert. Before venturing into a detailed Bhairavi, there were medium-paced numbers such as `Budham Asrayami' in Nattakuranji and `Muruga Muruga' in Saveri. `Balagopala' in Bhairavi was appended with kalpanaswaras.
Srimathi Brahmanandam and Anuradha Sridhar
Yamini's voice is sweet and soft. She should avoid closed-mouth articulation in the upper registers. The flow in the alapana followed proper momentum and the swara segments did not suffer from overkill.
Yamini should focus more on the bhava part. Free modulation of her vocal chords will make her music more wholesome. V. Suresh Babu's violin and E. Krishan Prakash's mridangam were subdued.
Jayalakshmi Sekhar (Malaysia) should be credited for being one of the few who practise and perform veena seriously, notwithstanding the fact that the instrument seems to draw a thin crowd.
Her concert took a little time to warm up though her choice of kritis was bright and spirited. Sekhar's Ritigowla and `Janani Ninnu Vina' could have been more emotional. Nevertheless, Jayalakshmi compensated with her Khambodi expedition. The ragam, tanam and the composition, `Evari Maata' and the swara circles at `Baktha Paradeena' were well-conceived, developed and presented. `Teliyaleru Rama' in Dhenuka, `Deva Deva' in Mayamalavagowla and `Maravene Ennalilume' (from `Meera') were appealing additions. Sridharan Shankar (Sydney-Australia) and G. Ravichandran on the mridangam and ghatam respectively played softly to suit the veena but proved their might during the tani avartanam.
Dr. Sanjay Subramaniam
Melody is the watchword of the Lalgudi clan. Srimathi Brahmanandam and Anuradha Sridhar (U.S.) reiterated this in their violin duet. The Tamil compositions chosen for the occasion were by different composers and set at varying rhythms.
Fastidious elaboration of Saveri in `Muruga Muruga' by Srimathi and Purvikalyani in `Ananda Nadamaduvar' by Anuradha shone with long and short strokes of melody-filled passages.
Yamini Ramesh.
The interesting swara sallies at `Ambalanthanil Ananda Nadamaduvar,' landing at different places were done with professional grace and mathematical accuracy. Khambodi was given an extensive treatment by the mother-daughter duo. `Tiruvadi Charanam' provided ample scope to showcase their penchant for bhava. K.R. Ganesh and Anirudh Athreya made their presence felt through competent percussion.
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