SRI THYAGA BRAHMA GANA SABHA
Confident handling of prayogas
N. Harish.
His training as a violinist is a definite asset to his orientation as a vocalist. N. Harish, a disciple of Srimathi Brahmanandam (violin) and Vijay Siva (vocal), sings with poise and maturity. His swara gnanam is evident in the bold contours of alapana and confident handling of involved prayogas. His essays of Pantuvarali and Mohanam displayed two different approaches. With his aesthetic sensibilities firmly anchored in the classical idiom, there was no dearth of imaginative sancharas in the Panthuvarali alapana.
Only, their impact was undermined by rapid-fire delivery. Slowing them down by a few degrees and allowing for a longer pause between prayogas would have provided those crucial extra seconds needed for them to register with the listener. Again, a driven pace lent a restless air to `Ennaganu Rama Bhajana,' leaving little room to touch upon the bhava inherent in the beautiful line, `Rama Rama Rama Yenuchu'. The niraval-swara episode afforded glimpses into a mature vision manifested in startling flashes of insight.
Mohanam was a praiseworthy effort, where the softening of tone and conscious modulation yielded results. The intelligent use of vadi-samvadi lent colour. It was the kalapramana that made all the difference in bringing out the lyrical flavour of the kriti, `Mohana Rama'. Apt poruttams were used to good effect in the kalpanaswaras.
The violinist, Roopa Rajagopal, was well attuned to the vocalist's wavelength. Her Panthuvarali delineation reflected commonality of concepts. A clear-cut approach and fluent phrasing distinguished the Mohanam. Mridangam artiste Sanath Kumar's thani avartanam sustained interest through clarity of sollus and positive emphasis without undue force.
LALITHAA KRISHNAN
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