BHARAT KALACHAR
Accent was on tranquillity
G. SWAMINATHAN
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Bombay Jayashri's Saveri was like a flowing river, slow but sweet and long but relaxing.
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Photo: S. Thanthoni.
RELAXING: Bombay Jayashri.
Bombay Jayashri's voice is her fortune and her firm faith in using it to elicit the beguiling beauty of the ragas is her strength. That is the means she has chosen to touch the heart of the rasika than just stimulate the intellect.
Jayashri's expositions thus bank on serenity than dash. The accent here is on colourful glitz. The result is her music provides tranquillity.
Jayashri stretched Saveri in a way that reminded one of the steady flowing of a river. True, it was slow but sweet, long and relaxing.
The Muthuswami Dikshitar kriti, `Sri Rajagopala' came as a perfect extension of the prelude. The niraval and swaras at the pallavi, `Sri Rajagopala Bala Shringara' was studded with beautiful sangatis and rounded off brilliantly with swara loops pitched on panchamam.
The earlier part of her concert had `Maya Titha Swaroopini' of the Thanjavur Quartet `Mundu Venuga' in Darbar of Tyagaraja and a sketch of Nalinakanti with `Nee Padame Gati' by G.N.Balasubramaniam.
But, why did Jayashri skip that fine chittaswaram composed with the attractive combinations of Nalinakanti?
The post-tani segment featured a haunting Ragam-Tanam-Pallavi in Subapanthuvarali set in tisra jati jampa talam. The raga region was covered in two parts, sensitively structured with a surfeit of sancharas emphasising the solemn mood of the choice.
The tanam and pallavi were given due credit to the time and quality factors.
The pallavi after the niraval and swaras turned into a melodious ragamalika. This scribe could identify two of the three (with doubt) as Rageshri and Jyotiswaroopini, leaving the middle one as question. In such instances is it not better to educate the audience with the names of the rare ragas the singer introduces?
V.V.S.Murari is an able violin player. His portions in raga vinyasa and kalpanaswara were well executed though there was a perceptible haste in some places. Poongulam Subramaniam unleashed brisk patterns of rhythm almost coaxing Jayashri even when she was on the languid mode many times bringing a smile on the face of the singer.
Karthick on the ghatam was comparatively sober; nevertheless, he paired well with Poongulam in the tani avartanam.
The closing of the concert left a tinge of sweet sadness of Ahir Bhairav with `Sri Jagadeeswari.'
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