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Music Season
MUSIC ACADEMY
Pacy alapana
V. SUBRAHMANIAM
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With a good voice , Gayatri Girish should settle for a bhava-rich presentation.
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Photo: V. Ganesan
Change in evidence: Gayatri Girish
Gayatri Girish has been in the concert platform for more than a decade. Her climb to prominence has been quite fast as she has good talent. She was accompanied by Mysore Srikanth on the violin, Palladam Ravi on the mridangam , Udipi Sridhar on the g
hatam. Starting with a Begada raga varnam of Veena Kuppier in Adi talam she proceeded to the Saveri raga, Adi talam kriti of Tyagaraja, ‘Daritapule.’ This was neatly rendered neither with a ragam prelude or kalpanaswaras.
The Devamanohari ragam was taken up for alapana which was good. The composition that followed next was, Tyagaraja’s ‘Kulabirudunu’ in Rupaka talam, not often heard on concerts and so, it was refreshing. Kalpanaswaras were rendered for this. Muthaiah Bhagavathar has composed a song in Mandari ragam, Misra Chapu and Gayatri presented this next. The next main piece of the concert, ‘Kamalambam Bajare,’ the Muthuswami Dikshitar Navavarna kriti in Kalyani ragam, Adi talam, was well delineated. Gayatri’s voice was perhaps warming up and she opened out in tara sthayi shadjam and only then was the natural tone of her voice heard. The niraval was taken up for the opening line of the pallavi itself ‘Kamalambam Bajare’ with kalpanaswaras which were handled well. The violinist scored better than Gayatri in the raga alapana. One wondered why Gayatri had chosen two Prati Madhyama pieces in a row, Mandari and Kalyani, which could have been avoided. The thani avartanam by Ravi and Sridhar was executed well.
‘Enrraiku Siva Krupai Varumo’ in Mukhari set to Misra Chapu of Neelakanta Sivan was rendered commencing from the anupallavi as it is traditionally done. ‘Srikantha Neeyeda’ in Bhavapriya ragam, Adi talam came up next. A few sharp kalpanaswara embellishments for this piece would have given it a boost. Ragam Begada was taken up for Ragam Thanam and Pallavi. This is a Rakthi raga full of bhava.
Gayatri’s alapana should have been more deliberate and less pacy to bring out the grandeur of the raga. But instead she packed it with fast brighas. The pallavi was in Tisra Rupakam in Misra Nadai and the words ‘Kadaikan Partharul Guhane, Kandha, Kumara, Varamarula.’ The pallavi was rendered neatly and handled in the three tempos and also in Tisram. Ragamalika kalpanaswaram in Ritigowla and Behag were pleasant.
‘Chandana Charchita,’ an Ashtapathi was rendered in the ragam Basant. With a tillana in the raga Sindhubhairavi the concert concluded.
Gayatri is an artist with a good musical sense and talent. It is surprising that she has drifted towards another style for reasons best known to her. With a good voice and depth of talent she should settle for a bhava rich presentation. Perhaps because of the change in her route she appeared hesitant in the free and full-throated voice presentation, in the process losing perfect alignment with the sruti especially in the panchama and tara sthayi shadjam. With some streamlining in this aspect, she should blossom as an artist to reckon with soon.
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