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Music Season
MUSIC ACADEMY
Wholesome traditional fare
SULOCHANA PATTABHIRAMAN
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Rama Ravi sustained audience interest with lively expression.
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Photo: V. Ganesan
Rama Ravi
Rama Ravi’s concert was wholesome, representing the Dhanammal tradition through the oral guidance of T. Brinda. Perhaps it is only with age, experience and maturity that the beauty of this bani can be fully appreciated. Rama has intelligently synthesised vishranti with lively expression to sustain interest. A song in Malayamarutham by Manambuchavadi Venkata Subbaier, ‘Janmamenduku,’ with lyrics that conveyed the essence of bhakti, without which this janm
a is futile. The singer’s clear enunciation with creditable support from her daughter, Nivedita, was an indication that Rama does not miss either the woods or the trees.
Meera Sivaramakrishnan, the violinist, followed the singer’s mode of presentation with sincerity, careful not to be intrusive. Kedaragowla explored at length, had simple yet melodic sancharas with no mind-boggling, frenetic phrases. Meera’s raga suite was cohesive. Tyagaraja’s ‘Tulasi Bilwa’ was a neat, tidy version. ‘Niranjaname,’ an Achuthadasar kriti in Sriranjani with precise swaraprastaras was a refreshing change from the routine fare.
Papanasam Sivan’s ‘Kamakshi Gowri’ in Saveri on the Devi at Kanchi, the temple town, was an outpouring of the composer’s devotion signifying his total surrender to Kamakshi. Meera is an enterprising vidushi maintaining the feeling of well being throughout a concert and her accompaniment as well as solo efforts were commendable in terms of clarity and skills of presentation. Her Kalyani was a healthy exercise sans irrelevance, providing a praiseworthy dimension to the melody.
‘Ramaneevadu Kondhu’ with niraval and swaras for the pallavi and the kuraippu at Saman were palpable efforts in technical and rhythmic perfection.
Tanjavur Kumar, a sishya of the late Tanjavur Upendran, commands appreciation for his laya prowess for long. His immaculate thani with Tirukkannapuram Sowrirajan on the morsing had unqualified standards that was an extension of the high musical levels set by Rama Ravi.
‘Tiruvotriyur Tyagarajan’ in Atana, ‘Sakhi Prana’ in Chenchurutti and ‘Harismarane Mado’ in Yamunakalyani underlined with a devotional mien, were classical examples of the musician’s approach and pronounced understanding of the art.
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