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Music Season
BRAHMA GANA SABHA
Skeins woven with skill
Subhiksha Rangarajan
Subhiksha Rangarajan, an artist of credible potential, began her vocal recital with a Sanskrit sloka presaging Dikshitar’s Shanmukha priya or Chamaram in the Dikshitar tradition song, ‘Siddhi Vinayakam,’ with pulsating swara sequences. The singer without any vocal strain, in spite of the high sruti, was able to convey the subtle nuances of the raga Saveri in convincing style. Akkarai Swarnalatha displayed promise and talent in her reply. The portrayals of Lathangi and ‘Pirava Varam’ of Papanasam Sivan catered to satisfying parameters. A short but lucid analysis of the melody was an indication that the violinist is successfully emerging from the chrysalis. Karaharapriya was a tuneful skein, skilfully woven with perceptive, perspicacious prayogas.
The intensity of expression in her raga suit was a conscious effort of the violinist to avoid the ritualistic and focus on its core essence. Tyagaraja’s ‘Pakkala Nilabadi’ that highlights the unmatched creative genius of the composer, with niraval and swara passages for ‘Manasuna,’ were arresting. The tani avartanam on the mridangam by Arjun Ganesh and his supportive accompaniment reiterates the fact that it is team effort that accounts for the success of a concert. ‘Sambasadasiva’ in Sindubhairavi and a lovely Tukaram abhang dropped the curtains on a programme that was a positive tryst with wholesome classical music.
S.P.
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