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Music Season
SRI KRISHNA GANA SABHA
Impressive recital
SVK
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Raga expositions by T.M.Krishna and Nisha Rajagopal were well articulated.
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Nisha Rajagopal
The concert of T.M. Krishna showcased his talent at two levels. The first half of an hour’s duration was marked by restraint. The later one-and-a half hour devoted to ragam, tanam and pallavi was exhibitionistically ostentations in juggling the four ragas, Sankarabharanam, Thodi, Kalyani and Durbar, the famous pallavi associated with Ariyakudi Ramanuja Iyengar.
At this stage the recital drew sustenance from thrills and frills. Versatility notwithstanding, a vidwan of his calibre has to ensure music moving upwards in quality. Importance in the eyes of the performer shifted to exploring new avenues of tactics to wrench appreciation, no matter if aesthetics suffer in the bargain. The item to be demonstrative was strongly manifest in Krishna. There was nothing wrong in the choice of the beautiful pallavi which would have been high-class if it had been negotiated with sensitivity.
The first segment of the recital carried the songs ‘Kalaharana’ (Suddha Saveri) ‘Meena Lochana’ (Dhanyasi) ‘Vidajala Dura’ (Janaranjani) and ‘Kana Vendamo’ (Sriranjani). Beyond this stage it was out of bounds for soothing exposition. Dhanyasi and Sriranjani were well outlined in the alapana to make the rasikas silently absorb the shining ragascape, full of graceful and fluid movements. M.A.Sudareswaran (violin) kept track of Krishna’s mind and followed the ragas, particularly in the pallavi suite with great intensity.
Could Tiruvarur Bhaktavatsalam (mridangam) ask for a better environment to scatter his rhetorical, energetic percussive display than Krishna’s baits? The thani with Amrith (kanjira) was like the cadres of a party. Nisha P.Rajagopal in her afternoon concert took advantage of the opportunity given to her with a good account of her performing experience. She brought all her early training and methodical growth into making her effort impressive. Two items stood out in this genre: ‘Karu Baru’ (Mukhari with a telling alapana) and ‘Pankaja Lochana’ (Kalyani, the mainstay in the programme).
The other songs ‘Sitapathi’ (Khamas) ‘Sarasamukhi’ (Gauda Malhar) were rendered with great competence. The sahityas were well articulated. She had in V.V.S. Murari a good violin accompanist. His solo versions were a measured response to the vocalist. R. Sankaranarayan (mridangam) and Anirudh Atreya (kanjira) provided brisk support.
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Music Season
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