SRI THYAGA BRAHMA GANA SABHA
Non-aggressive style
LALITHAA KRISHNAN
|
If Subha Ganesan resorts to greater `akara' usage, her interpretations would carry more punch.
|
Photo: K.N.Muralidharan.
Subha Ganesan.
A soft, pliant voice pitched attractively and a grounded, non-aggressive style distinguished Subha Ganesan's brand of music.
In the Lathangi alapana, the vocalist struck the right balance by interspersing key prayogas with free-wheeling excursions. Papanasam Sivan's `Pirava Varam' supported spotless swara sequences wrapped up with a low-key korvai. The Kharaharapriya alapana was established on a base reinforced by groundwork.
The artiste remained firm in her resolution to sculpt an exposition of substance by filling in the traditional grid with melodic permutations.
The exposition gained impetus through the development centred on the dhaivata and rishabha. In the Tyagaraja kriti `Rama Neeyeda,' the niraval and swaraprasthara in two speeds remained true to raga swaroopa, eschewing superfluous phrases.
Robust support was forthcoming from the violinist during the niraval segment.
Earlier pieces included a reflectively poised Koteeswara Iyer's `Yedaiyya Gati' in Chalanattai, bearing the ragamudra and `Paradevata' in Dhanyasi that flowed at a relaxed pace.
The latter was a welcome addition to the ranks of those Muthuswami Dikshitar kritis that honour the listener with rare visitations.
If the vocalist could be a shade more assertive and resorts to greater `akara' usage, her interpretations would carry more punch.
Kandadevi S. Vijayaraghavan (violin) and Kallidaikurichi Sivakumar (mridangam) aided the vocalist's progress with assurance.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
