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Music Season
SAFE
Perfect enunciation
Kiranavali Vidyasankar.
Kiranavali Vidhyasankar’s voice has a clear tenor and her perfect enunciation adds value to her musical expression. Notwithstanding these attributes, her concert for Shanti Arts Foundation & Endowments at the newly air-conditioned Sastri Hall turned out to be rather tepid.
Blame it on what? There is a mismatch between her musical vision and delivery. It is indeed a fact that Kiranavali tries to keep away from the run-of-the-mill ragas for exposition and had chosen to elaborate Ranjani as sub-main and Chakravaham for main.
Ranjani was brief and Chakravaham occupied the main slot. In both instances, the mode of deliverance moved on a conspicuously slow pace but somehow the vital phrases and stress on them were deficient.
Therefore, the resultant essay sounded as a half-hearted affair calling for a better touch to make an impact.
In fact, Chakravaham, the built-up was incredibly lingering and repetitive which Kiranavali could have definitely eschewed.
The opening number was ‘Saraseeruha’ in Nattai and ‘Sarsa Sama Daana’ in Kapi Narayani with swara adjunct.
In Ranjani it was ‘Durmarga Chara’ and the swaras once again were flashed at the charanam. Vidyashankar’s swara strings go long but nebulous.
The korvais are hastened; similarly, in ‘Etulaborduvo’ (Chakravaham) charanam, the swaras followed the niraval in the first kalam were gratuitously long and the madyama kala swaras have to be rounded up in a jiffy. Luckily, here Kiranavali showcased a better pattern with creativity.
Srilakshmi Venkataramani was more comprehensive in her part; her Chakravaham alapana was consistent and impressive.
T.K. Ramakrishnan and Adambakkam Shankar provided pakka vadyam with their own insight.
G. SWAMINATHAN
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