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Music Season
SRI THYAGA BRAHMA GANA SABHA
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Come December and the mercurial Chennai weather takes fiendish delight in triggering a cold-cough syndrome, targeting vocalists in particular. Young S.M.Vilasini was one such casualty. However, the manner in which the artiste made the best of the situation was a shining example of crisis management that deserves special mention. Unable to give full rein to her voice in the upper reaches, Vilasini turned limitations into strengths by focusing on content in the middle regist
er with a calm acceptance and redoubled intensity that yielded excellent results.
In the Pantuvarali alapana, madhyama kala sancharas and a karvai-laden elaboration of the tara shadja suite captured flavour, while panchama-varja passages built atmosphere. The relaxed rendition of Tyagaraja’s ‘Aparama Bhakti’ lingered on sahithya nuances and sarvalaghu swaras swept to the finish with assurance.
Tyagaraja’s ‘Teliyaleru Rama’ (Dhenuka) was an intelligent choice that minimised voice strain. Controlled delivery and sensitive articulation illuminated the main raga Madhyamavathi which was strengthened by a firm grounding in the panchama suite. With sangathis gently woven around the madhya sthayi, Papanasam Sivan’s ‘Saravanabhava Guhane’ is ever a font of sustenance to the vocalist who wishes to make a statement with bhava. Vilasini was right on track in her kriti rendition and porutham-studded kalpanaswaras. Post-tani, the Subramania Bharathi composition ‘Manadhil Urudhi Vendum’ aptly summed up the artiste’s approach.The accompanists Akkarai Swarnalatha (violin) and Kolkata Kartik (mridangam) performed their individual roles with competence and extended their fullest cooperation towards making the vocalist’s task easier.
LALITHAA KRISHNAN
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Music Season
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