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Music Season
MUSIC ACADEMY
Dulcet-like voice
SULOCHANA PATTABHIRAMAN
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Sukanya’s Kalyani proved that her artistic persona had many positive facets.
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Photo: V.Ganesan
Sukanya Prabhakar
Sukanya Prabhakar is a vocalist with substantial merit, who perhaps is not a familiar artiste to Chennai rasikas, as she does not make frequent appearances in the city’s sabhas. Beginning with the Ata tala varnam in Khambodi, she moved on to a detailed description of Dhanyasi, a melody appropriate for a morning kutcheri.
The shimmering beauty of the raga was brought to focus with stencilled movements with free flowing expression. R. Hemalatha, an artiste well aware of intrinsic musical values, rendered an alapana enriched by mellifluent, melody-packed prayogas and sound musical concepts. Syama Sastri’s ‘Meenalochani’ was ornamented with niraval that was not merely efficient and proficient but endured with grace and style.
‘Gam Ganapathe,’ Jayachamaraja’s composition in rare Durvangi, a janya of Dheera Sankarabharanam, was an interesting filler. Kalyani was an exercise proving that Sukanya’s artistic persona had many positive facets such as a voice that was dulcet like, and one that was capable of portraying sustained karvais. Hemalatha’s reply had the right kind of adornment to fulfil audience expectations.
Tyagaraja’s ‘Ammaravamma’ in Khanda chapu with niraval in the Pallavi and swaras was a succinct interpretation. Melakkaveri Balaji’s mridangam accompaniment for Khanda chapu was flawless and more importantly, unobtrusive. The Bhairavi expansion sans cheek by jowl cramming of prayogas was an indication of the singer’s mature musical thought. The answering statement on the violin punctuated with malleable sancharas were ear-captivating, revealing commendable gnanam and communication skills. Dikshitar’s ‘Balagopala’ is a peerless gem. Sukanya’s kriti version with total fidelity to sruti, diction and involvement was of a high order catering to maximum aural satisfaction. The percussion duet by Balaji and Papanasam Sethuraman on the kanjira was woven with pertinent rhythmic designs and culminated in a final sequence that raced spot on to the target.
The Khambodi vinyasa imbued with traditional, lilting phrases, intermittent meaningful pauses that are at times more eloquent than the actual singing, and the unquestionable ability to heighten the melodic equation of the delineation, was truly out of the top drawer. The befitting response by the violinist in the various octaves presaged a lively brief tanam and a Pallavi in misra triputa 2 kalai with an immaculate trikala that exuded confidence and professional commitment. A hymn by Vyasaraya on Udipi Krishna in Lathanthapriya, also known as Karnataka Suddha Saveri, found the coffers of melody and devotion overflowing. The Sanskrit sloka bedecked with tuneful Sindubhairavi bade a pleasant adieu to the rewarding concert.
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