MUSIC ACADEMY
Gifted with a pliable voice
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Judicious selection of kritis will make Bhavadhaarini Anantharaman's recital more pleasant.
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Photo: M. Vedhan
Bhavadhaarini Anantharaman.
Bhavadhaarini Anantharaman was more convincing in the opening and tail pieces than in the major composition.
She has a flair for giving free rein to her pliable voice, as it was evident from the Saveri raga varnam that she sang in three speeds and kalpanaswaram.
In the Tyagaraja kriti (Harikhambodi) Bhavadhaarini's tuneful accent on `Rama' and `Brovara,' were more noteworthy than the very familiar emphasis that she laid on `Prema, To Lo, Kabhi,' that follow in ascending sequence.
Then, awkward questions concerning the way one splits lyrics surfaced in her interpretation of Syama Sastri's song in Tamil, `Tarunamiduvamma,' and Tyagaraja's `Vinatasuta Vahana Sriramana.' The centrepiece in ragam Hanumathodi, Dikshitar's `Subrahmanyaya,' was somewhat of a let down. This time, the reason had perhaps to do with selection of a kriti that she did not feel too confident to sing.
Karaikkal S.Venkatasubramanian on the violin sounded hurried in his essay of Hanumathodi. At any rate, A.V. Manikandan, who played the mridangam, restored some spirit into the concert in his solo section. It must have perked up the vocalist who sang sprightfully Dikshitar's `Pranatartiharaya Namaste,' in raga Samanta, Srivatsa's `Kartikeya Kamalekshna,' in raga Valaji, Papanasam Sivan's `Muruga Muruga Yena Nee Sol,' in raga Hamsanandi and `Vava Murugayya,' composed by Gomathi Subramaniam in raga Sindhubhairavi.
GARIMELLA SUBRAMANIAM
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