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Music Season
SRI PARTHASARATHY SWAMI SABHA
When serenity lapses into lethargy
G. SWAMINATHAN
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Bombay Jayashri’s concert had all the glitter of gold but was weightless.
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Bombay Jayashri’s voice is feminine but not strident, husky without being impish, sweet not cloying. Her concert had all the glitter of gold but was weightless.A dazzling Poorvikalyani (‘Deva Deva Jagadeeswara’) truly raised the prospects. The Arabhi Thiruppavai (‘Ongi Ulagalanda’) and with Sogasu Jooda Tarama’ in Kannada gowla it slightly slumped and the essay of weighty Yaduku
lakhambodi created a slothful mood. ‘Hechchariga Ra Ra’ and the leisurely extrapolation at ‘Ninnu Jooda Vachu Bagini Karambu Chilaka’ and swaras sounded rather heavy-eyed and syrupy.
Latangi helped pick up momentum with ‘Venkataramana.’ But Jayashri lost the tempo with the slow development of Saveri. ‘Sri Rajagopala’ in sowkya rendition turned brisk only when Jayashri started setting swara matrices centring on shadjam in quick succession. With Poongulam Subramaniam on percussion, the main artist can never relax. Jayashri’s presentations were constantly energised by Poongulam’s rhythmic backup in the association of K.V.Gopalakrishnan on kanjira. Their quick-set thani was taut and tidy. The main item turned out to be a Ragam-Tanam-Pallavi in Mohanakalyani. The raga came in two segments with a Pallavi ‘Kannanai Manivannanai Ninai Maname’ set to kandajathi triputa talam. The raga exposition moved mainly on controlled sancharas at times surprisingly smothered. Jayashri’s penchant for weighty karvais was replaced with just airy phrases and sways. The pallavi was dealt with precision rather than passion; B.U.Ganesh Prasad on the violin followed Jayashri faithfully in all respects.
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Music Season
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