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Music Season
MYLAPORE FINE ARTS CLUB
Voice glides with the frets
M. SOWMIYA
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The voice and veena synchronised in every sangati, every turn and twist of the melody.
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Photo: K.V. Srinivasan
Good command: Geetha Bennet.
Geetha Bennet started her veena recital with a varnam (‘Ninnukori’ Vasantha-Adi-Tachur Singarachari) in three speeds including tisram, showing her prowess in the command over the change of speeds. This was followed by ‘Ekambaresanayike’ (Karnatak Suddhasaveri-Rupakam-Dikshitar). Then came a brief sketch of Atana for the kriti, ‘Anupamagunambudhi’ (khanda chapu-Tyagaraja). It was satisfying. The raga Charukesi which followed was a moving
alapana, imaginative and meaningful, a fitting prelude to ‘Kripayapalayasoure’ (misra chapu-Swati Tirunal). One could see her skill through her effortless flow over the frets showing a combination of viraladi, izhuppu and jarus mixed with contrasting plain notes.
Guided by her raga gnana, these unique dimensions of the veena were fully exploited by Geeta. Her special use of the left finger technique in delineating long drawn phrases without continuous use of the right finger was a special feature.
Kalpanaswaras came with a beautiful flow. But the oft-repeated korvai which followed was in fact an unwelcome and intrusive culmination, spoiling the cascading effect.
What made ‘Bhavapriye Bhavani’ (Bhavani-Adi-S.Ramanathan) remarkable was her singing the song fully along with her veena. The voice and veena synchronised in every sangati, every turn and twist of the melody faithfully. Only occasionally the voice dominated a trifle. This could have been avoided had Geeta adjusted the volume.
Oozhikkoottu (Mohanam-Adi-Subramanya Bharati) was interesting both rhythmically and content-wise. What was interesting and worth mentioning were her explanations for the song, context and the story behind it — the fierce dance (Oozhikkoottu) of Sakti turning into a blissful dance (Anandakkoottu) when she saw the beautiful face of Lord Siva! The main piece was in Khambodi (Thiruvadi charanam - Rendukalai Adi-Papanasam Sivan). The elaborate raga alapana was ebullient, bringing out the characteristics of the raga. But purposeful pauses in between would have made it more delectable. The enchanting ragamalika tanam (Khambodi, Ahiri, Neethimathi and Kapi) was fulfilling. Accompanists Neyveli Narayanan (mridangam) and Adambakkam Sankar (ghatam) gave excellent support.
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