SRI THYAGA BRAHMA GANA SABHA
Lives up to expectations
LALITHAA KRISHNAN
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With an open-throated voice delivery and earthy style, Aruna Sairam provided bread and butter fare. The mandolin produced uncluttered lines as Raju and Nagamani played.
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PHOTOS: R. Shivaji Rao
IMPRESSIVE RENDITION: Aruna Sairam
The move to set out extra plastic chairs to accommodate audience overflow was well-justified. Aruna Sairam's huge rasika base lived up to the organisers' expectations.
With an open-throated voice delivery and an earthy style, the artiste provided bread and butter fare. The neraval and kalpanaswara for Papanasam Sivan's `Parathpara' (Vachaspati) held no surprises but were supplemented by a strong outpouring of energy. `Amba Sauramba' (Arabhi) was a straightforward, no-frills rendition.
The artiste struck up a cautious acquaintance with Saveri raga, which came across as a well-rehearsed product, with spontaneity in short shrift. The neraval in Syama Sastri's `Durusuga' attempted to seek meaning through a few deliberate pauses between stretches. In the final melkala swara, the kuraippu strands with varying landing points converged with much ado for a well-orchestrated dash to the finish line.
A sloka heralded Muthuswami Dikshitar's `Ardhanaareswaram' (Kumudhakriya) which was outlined by overtly simplistic sangatis. All artistes have their days, and this was not the vocalist's day for Mohanam. It was left to the violinist, Raghavendra Rao, to invoke the raga devata through evocative intricately-woven sancharas.
In Tyagaraja's `Nannupaalimpa,' the vocalist's kizhkaala swaras were made attractive by tonal modulation. Melkala swaras were well-conceptualised and crowned with a grand korvai.
U.P. Raju and Nagamani.
It is in the tukkada segment that Aruna truly communes with her admirers. The Ashtapadi, `Yaaramitha,' and the Tamil composition `Dhyaaname' with clearly enunciated sahitya, delighted listeners.
B. Raghavendra Rao was the valuable link between what was and what could have been, his dexterity adding flavour and appeal to the alapanas. The tani avartanam of J. Vaidyanathan and B.S. Purushothaman (kanjira) was a soothing exchange with simple nadai permutations.
U.P. Raju and Nagamani presented a neat mandolin recital in which alapanas and kritis exhibited smooth uncluttered lines. Following Tyagaraja's `Tulasidala' (Mayamalavagowla) fitted with apt kalapanaswaras, the artistes moved on to an impressively rendered mallari in Gambhira Nattai, a majestic piece perfectly complemented by the distinctive rhythm of the accompanying tavil.
The delineation of Saraswathi was facilitated by short prayogas linked by symmetrically structured phrases. Sweeping flashes across three octaves lent sparkle, although there were a few areas where the exploration was a scale-based exercise. In Tyagaraja's `Anuragamuleni,' the swara exchanges pulsated with the energy emanating from the unique vocabulary and technique reserved for the instrument. In the main piece, the Bilahari raga had sancharas linked by graceful jarus. The final swaraprasthara sought out rich microtones and adventurous flights, simultaneously displaying praiseworthy restraint in adhering to the characteristics of the vocal idiom. The required adjustments in the sound system ensured that the extreme contrasts in tone and volume of the tavil played by Triplicane Sekar and the ghatam played by Adambakkam K. Shankar were effectively balanced, making for an arresting tani.
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