NAADA INBAM
Outstanding for its niraval
GOWRI RAMNARAYAN
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The way R.Vedavalli used the words and syllables proved that masterly technique can fascinate without drawing attention to itself.
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Photo: R. Shivaji Rao
FULL OF RAGA BHAVA: R. Vedavalli.
In recent times we have become accustomed to hearing Vachaspati as a scale to race up and down, or as ricocheting yati exercises, followed by explosive swaras in the chosen kriti.
It was a treat to perceive its three-dimensional form as R. Vedavali chiselled it at Nada Inbam.
The alapana had the kind of weight you associate more with rakti ragas. Not that Vedavalli's Vachaspati acquired more gamakas than it possesses. Nor were suddhaswaras absent. The singer simply avoided over-stretching and dry gymnastics. She focused on prayogas replete with ragabhava.
Vedavalli's recital also stood out for its niraval, as in `Ennadu Kripa' (Vachaspati). Here again the singing accented the euphony inherent in the line `Pannaga Sayana Patita Pavana.'
Here vocal accompanist V.Sumitra proved that she was a sensitive disciple trained in a fine style.
Again, the way the words were used and syllables strung across the melody in the iridescent Kharaharapriya niraval (`Rama Ni Samanamevaru') proved how masterly technique can fascinate without drawing attention to itself.
Vedavalli knew that melodising in niraval has to take the meaning into account. Every niraval phrase of hers underlined the arthabhava — wonder at Rama's peerlessness.
The Kharaharapriya alapana did not fail to prepare us for the brilliant niraval and kalpanaswara. It had strength and tenderness, wrought by gamakas flowing naturally along the raga stream. A ringing tanam became a bonus.
Right from the early `Nadaloludai' (Kalyanavasantam), the two voices and violin traded kalpanaswara in a seamless unity of spirit.
The exhilaration at playing such challenging music was obvious in R.K.Sriramkumar's violin, not only in improvisation, but also in accompanying the weighty songs of the day, as in the lovely misra chapu dance of Dikshitar's Gaulipantu kriti `Krishnananda.' His ravai sangatis were as precise as they were delicate.
The mridangam (Neyveli Narayanan) too followed the moods of the musician and the music, delivering a tani of strong and sparkling, rather than strident rhythms.
The concert stood out for its balance of segments, and for pitching everything in the right kalapramana — except perhaps for the padam (`Mogudu Ochina,' Sahana) which emerged a trifle too fast.
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