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Music Season
SRI THYAGA BRAHMA GANA SABHA
Delivered with punch
LALITHAA KRISHNAN
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Saralaya Sisters’ Kalyani was a shared effort with alternation of pace.
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Photo: R. Shivaji Rao
Purposeful approach: Saralaya Sisters.
Sharing an easy rapport in kriti rendition, the Saralaya sisters, Kavitha and Triveni presented a brisk vocal recital. With an invocation in Nattai leading up to ‘Sarasiruhaasanapriye,’ the affixed kalpanaswaras were geared to deliver punch. Triveni’s brief Saveri sketch preceded Tyagaraja’s ‘Tulasi Jagajanani’. Kavitha’s Amrithavarshini exposition carried zest and revealed attractive facets in the madhya and tara sthayi prayogas.
A steadier tone and the inclusion of karvais would have enhanced the overall effect. Kalyani was a shared effort with alternation of pace in passages and varying interpretations providing contrast. Tara sthayi sancharas added fillip.
Tyagarajas’s ‘Endhuko Nee Manasu’ saw an orderly progression in niraval and kalpanaswaras in two speeds highlighted by vadi-samvadi poruttams. Greater accuracy in alignment of individual notes and a more structured, purposeful approach to raga development would add to the appeal of the duo’s presentation.
S.P. Ananthapadmanabhan’s violin accompaniment was highlighted by ‘azhuttam’. The raga sketches needed pruning and better focus on essentials to achieve a trim silhouette.
R. Shankaranarayanan’s playing (mridangam) was unobtrusive and embellished sahitya.
With Anupama Ramakishnan (vocal) and V. Rakesh (violin) making their kutcheri debut it was a significant occasion for the youthful team, accompanied by Kaushik (mridangam).
Lingering traces of initial nervousness soon faded as the artistes settled into the groove. Commencing with Tyagaraja’s ‘Vandanamu’ (Sahana) in a strong voice well-suited to the
Anupama Ramakrishnan.
Carnatic idiom and heard to advantage in the madhya sthayi, Anupama’s kalpanaswaras for ‘Ekambresa’ (Karnataka Suddha Saveri, Muthuswami Dikshitar) were sung with verve and a feel for swaroopa.
Harikesanallur Muthaiah Bhagavathar’s ‘Durga Devi’ (Navarasakanada) with chittaswaram served as a filler before the main delineation in Simhendramadhyamam.
Karvais at the panchama proved the mainstay combined with madhyama kala prayogas and speedy passages at the tara sthayi rishabha. ‘Rama Rama Gunaseema’ (Swati Tirunal) achieved a relaxed pace, with concise niraval and swaras at ‘Munimaanasa’.
The vocalist would benefit from improving reach in tara and mandra sthayis and reducing nasality in tonal projection.
Strong bowing and firm fingering contributed towards projecting V. Rakesh’s solo turns on the violin. Passages employing double gamakas and steady karvais added effect to the Simhendramadhyamam alapana, while niraval and swara sallies were handled with ease, the final swara concluded with a neat korvai.
Kaushik’s thani avartanam progressed along disciplined lines.
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