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Music Season
MUSIC ACADEMY
Crystal clear prayogas
SULOCHANA PATTABHIRAMAN
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Neela Ramgopal’s colourful, gratifying expansion of Shanmukhapriya had all the distinctive features of the raga woven with confidence.
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Photo: V. Ganesan
Eloquent: Neela Ramgopal
Neela Ramgopal, a Karnataka based senior vocalist has enjoyed a long stint as a meritorious singer who upholds the basic dignity and tradition of Carnatic music with an iguana-like grip. Her flowing vocal chords still in the best of nick with sruti suddham, found the vidushi offering a vidwat-oriented, elaborate Sahana with the plethora of prayogas being crystal clear.
‘Manamukavalena’ by Harikesanallur Muthiah Bagavathar, with concentration on the basic tenets of the genre deserved acclaim. The raga vistara and swara repartees by R. Hemalatha spelt quality and bore eloquent testimony to an impressive musical acumen.
‘Dayarani,’ Tyagaraja’s composition in Mohanam in the mould of M.L.Vasanthakumari, wound its way with a racy tempo that added an extra fillip to the programme. Shanmukhapriya has been an evergreen winner and Neela’s colourful, gratifying expansion had all the distinctive features of the raga woven with confidence, absolute rakti and sruti bedham forays with an ineffable splendour.
The violinist, as customary, paints an attractive canvas that was quite an incandescent, resplendent version. ‘Mamava Karunaya’ of Swati Tirunal the niraval peppered with phrases of authority, the solfa sequences carefully and aesthetically built as an architect’s creations, the kuraippu and the final korvai with invigorated, intellectual laya competence had persuasive refinement.
The percussionists, C. Selvaraju on the mridangam and K.V.R.S. Mani on the kanjira embellished their thani avartanam with soft and strong patterns and a precise laya finale, that stressed the fact that artistes are not merely assembly line products, but it is the constant sweat of the brow and the enquiring resourceful mind, that contribute much to positive progress and success in the field.
‘Sarasangi,’ chosen for the Pallavi segment and the tanam with the former being a spontaneous output of melody and the latter as lively as a pop-eye proved that Neela had many dimensions to her prowess. Hemalatha was a perfect foil to the singer with efficiency and a predilection for quality with a bred in the bone consciousness. The pallavi intelligently conceived in misra triputa, the mandatory trikala exercise meeting a few minor roadblocks, the niraval, the catena of swaras in Revagupti, Kharaharapriya, Chandrakauns finishing with Sarasangi and a perfectly executed korvai was more than professional efforts. The attractive Behag tillana by Lalgudi Jayaraman gave the pleasure of a gratifying denouement.
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