HAMSADHWANI
Captivating rendition
Palghat Sreeram
The booming voice of Palghat Sreeram swept across a small group of rasikas captivating them immediately. His rendition of the Tyagaraja kriti `Bhajana Seya' in Nattai with brisk swaraprastharams set the mood for the concert. The tempo continued with Devagandari kriti `Vena Radhana Manavi.' Dharmavathi ragam was structured beautifully with short prayogas bringing out the essence of the raga and Dikshitar kriti, `Paranthamavati' was rendered beautifully. The Muthiah Bhagavathar kriti `Giri Priyam' in raga Kadhanakudukalam cascaded like a gushing waterfall.
The main raga Thodi was taken up for alapana. The short phrases and flirtatious traversing across the notes at great speed did not do justice to the majesty of this raga. With a voice capable of moving across the three octaves with great ease, a little more focus on slowing down the pace will infuse more bhava and depth to his concerts. While singing swaras, the tendency to simulate voice patterns of yesteryear artistes hinders the natural flow and allows for a certain artificiality to creep in.
Restraint in speed also needs to be cultivated. There is a tendency for the voice going off tune in certain phrases. The violin support by Bhaskar was superb wherein each swara cajoled with finesse and raga essays were full of depth.
Mohan Krishnamurthy on the mridangan played with competence enhancing the kritis wherever necessary.
V. V. RAMANI
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