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Music Season
MUSIC ACADEMY
Vintage RTP
S. SIVAKUMAR
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Seetha Rajan’s Saveri exposition had all the mandatory features.
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Photo: V.Ganesan
Authentic: Seetha Rajan.
It was a lesson of sorts as Seetha Rajan, follower of Semmangudi bhani, rendered Ragam-Thanam-Pallavi in Saveri. The Tisra Jati Triputa Tala Pallavi set to Kanda Nadai had the words ‘Kaveri Thatasthitham Bhajare Kari Kalaba Mukham,’ for its lyric and the eduppu itself was bestowed with a grandness befitting the raga.
The lines may have been inspired from the Dikshitar Krithi, ‘Karikalaba Mukham.’ The thanam and pallavi went through all the formal structural rigours, embellishments and various kalams, in short adopting all those mandatory features.
The Ata tala varnam (Anandha Bhairavi-Veenai Kuppaiyer) that flagged off the recital came with a stamp of authority. ‘Sudha Madhurya’ (Sindhu Ramakriya, Tyagaraja) had fast-paced swaras that were never a tussle between aesthetics and arithmetic.
The depiction of the two Dikshitar kritis (Ranganayakam in Nayaki and Sringaradhi Navarasa in Dhavalanga) again did credit to the school she belongs to and the diligence with which she must have worked to imbibe the spirit to bring out the meditative impact of these vilambakala kritis.
The alapanas for Sahana (Giripai-Tyagarajar) and Kalyani (Ananda Koothadinar-Gopala Krishna Bharathi) were clearly the result of internalising them over the years. It was sheer genius as Seetha’s voice traversed all the octaves without resorting to over-elaboration. ‘Kamala Charane’ (Amritha Behag-GNB) was the filler that set pace apart.
The most sensuous part of the concert was yet to come and the padam, ‘Theruvil Varano’ (Muthu Thandavar-Khamas) was sung with bewitching effect, an occasionally truant voice notwithstanding, and was begun at the anupallavi, “Uruviliyodu Tiripurattaiyum Udanu Eri Seida Nadana Rajan.”
R.K.Shriram Kumar on the violin provided healthy support and his raga essays and swara competency were uniform.
The accompaniment by the laya vidwans, Thanjavur Subramanayam on the mridangam and Ramakrishnan on the ghatam was error-free during the pallavi and they gave a thani of commendable quality and style.
Seetha was provided vocal support by her students, Padma Sukavanam and Jyothsna.
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