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Music Season
MUSIC ACADEMY
Impeccable and innovative
KRIPA SUBRAMANIAM
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Amrutha Venkatesh chose kritis of the trinity for her concert. TNS Krishna’s recital was a connoisseur’s delight.
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Photos: V.GAnesan
Neat rendition: Amrutha Venkatesh
Amrutha Venkatesh, out of the seven songs listed including a Sriraga varnam set to Adi talam by Karur Devudu Iyer, had chosen only kritis of the trinity for her impeccable concert. Kritis of the trinity lent weight because the audience is conversant with them and thus half the battle is won. Amrutha was accompanied by S.Karthick on the violin and Nirmal Narayanan on the mridangam. The Hamsadhwani kriti ‘Raghunayaka’ in Adi talam of Tyagaraja spontaneously set
the pace of the concert. The pallavi took care of the swaram output. Dhanyasi was a short, sweet and well-proportioned raga essay and Karthick’s Dhanyasi raga matched Amrutha’s raga attempt. The kriti ‘Meenalochani’ of Syama Sastri set to Misra Chapu talam was sung well. The precursor to the main raga Khambhodi, ‘Varanaradha’ in Vijayasree raga, set to Adi talam of Tyagaraja was rendered well with small dose of swarams.
The journey of the concert was smooth and Amrutha embarked on the Khambhodi raga for alapana and the raga was entrenched in crystal clear elucidation. There was an inner repose innately present and the brigas flowed freely. One thinks her good sadhagam technique and grounding has yielded results to this level of achievement. ‘Shri Subrahmanyaya Namasthe’ set to Rupaka talam of Dikshitar was good. Amrutha’s sahitya enunciation of this Dikshitar kriti needs specific praise. The lofty musical structure of this kriti was well conceived. At ‘Vasavadhi’ niraval and swarams were taken up. The accompanists on the violin and the mridangam gave able support. A kriti ‘Sadaenna’ by Vijaya Vittala in Behag set to Rupaka talam was preceded by a Ragamalika having Anandabhairavi, Saveri and Kapi in that order. ‘Ramachandra Nee Daya’ of Suruti by Tyagaraja lent a caressing finishing touch to the concert.
Amrutha treads the classical Rajamargam of Carnatic music fully understanding its magnificence. Backed by innovative and exploratory skills with concert experience Amrutha can reach the pinnacle of glory.
Madurai T.N.S Krishna gave his concert in the inimitable style of the prodigious T.N. Seshagopalan. Being his son and sishya, Krishna has imbibed his father’s style. The concert began with the Begada varnam set to Adi talam by Veena Kuppier. The ever- pleasing Mayamalavagowla kriti of Tyagaraja, ‘Meru Samaana’ was sung and his battery of swarams were breathtaking. In Shanmukhapriya his voice, with both speed and control, were hand in glove, a rare feature indeed to acquire and the final effect was literally spectacular. ‘Marivere’ of Patnam Subramania Iyer in Desadhi talam was rendered and this is a sprightly kirtana and the gait of the song came out well. Niraval at ‘Sannutanga Sri’ especially in the mel-kalam sounded very passionate. The brigas and karvais were dealt with equal aplomb. His torrential swarams with kuraippus flourished at ‘Sannutanga Sri.’ The next kriti ‘Amba Neelayadakshi’ in Neelambari set to Adi talam of Muthuswami Dikshitar enveloped the auditorium with a serene atmosphere suitable to that song and the kriti rendition was a striking contrast to the previous kriti.
TNS Krishna.
One observed while rendering a kriti Krishna gets swayed by the raga that his imagination eggs him to come out with a sangati on the spot and this improvisation lends originality. The song ‘Ambavani’ in Kiravani set to Desadhi tala of Muthaiah Bhagavathar came at breakneck speed. Kalyani raga rendition glowed with almost all the pidis intact and the entire raga was woven in different patterns that the vista of Kalyani kept enlarging and all the possible avenues were delved into. Such fertile incisive manodharma left one dazed and it was a connoisseur’s delight. The song ‘Thalli Ninnu Nera’ in Kalyani raga, set to Misra Chapu tala of Syama Sastri had swarams at ‘Syama Krishna Sodari.’
Thodi was taken up for RTP and a short thanam followed. The pallavi was in Sankeerna Jati Triputa talam. The words of the pallavi being ‘Madhavan Maruga Mamayil Muruga Saravana Bhava Aadivaa, Nee Odivaa, Viraindhu Odivaa’ came out confidently and faultlessly. His laya mastery is of a high order. At the very end of the pallavi, because of the speed, the Thodi raga got sacrificed. Extreme speed robs tge raga of bhava. The thani by Nirmal Narayan was good but short for want of time. ‘Pachaimamalai Meni,’ a viruttam was sung in Ragamalika containing Saveri, Valaj, Behag, Madhyamavati and Chandrakauns and this was followed by a tillana composed by T.N Seshagopalam set to Adi talam, Tisra Nadai which ended the concert.
Krishna is blessed in all the facets be it raga-singing, swara-singing and laya mastery. A little amount of sowkyam could only add luster to his concert.
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