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SAFE

Pantula Rama

“Sri mahaganapathi” in Gowla gave a kick start to her concert. Her concentration was on Hamsanadam and Keeravani in this programme. Rama’s raga alapana differs from the normal type; her phrases are daring trajectories within the Carnatic idiom and enjoyable. She starts in the middle and completes her picture relating the mantra and tara sthyee phrases with expertise. The Hamsanadam exposition was loaded with brigas swiftly piled up in succession. Well, it didn’t impair the raga swaroopa but gave a different shade. Keeravani was also closely on these lines and here Rama’s a few repose laden phrases initiated the later part with fast moving spins and brigas. “Bantu reethi” in Hamsanadam included a highly nourishing niraval and swaras at “Rama nama mane.” Her choice in Keeravani once again went in favour of Tyagaraja with “Kalikiyunde gada” suffixed by in-depth niraval and swaras at the customary “Baguga sriraghu” in the charanam. Rama never wastes her time in meandering swaras. They are crisp and precise.

The korvais and kuraippu are handled with care. In Keeravani, Rama alternated her swaras between the rishabam of the madyama and upper registers. The convergence was done with smart connective strings. Her other fillers were not the so frequently sung numbers. MSN Murthy on the violin almost reflected Pantula Rama’s touch and feel in his renditions more emphatically at the same time complimenting with his own enjoyable additions. When Vellore Ramabhadran is on the mridangam, one cannot expect high decibel drills. His soft touches on the instrument were quite pleasing with the support of Tiruchi Murali on the ghatam following the senior meticulously.

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