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Music Season
NUNGAMBAKKAM CULTURAL ACADEMY
Aesthetic, perfect
M. RAMESH
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Seetha Narayanan presented kritis long-forgotten.
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Photo: R. Ragu
Enjoyable: Seetha Narayanan
Veteran vocalist Seetha Narayanan’s eclectic talent produced a brilliant Saveri at Nungambakkam Cultural Academy. Narayanan, a revered teacher today, has learnt music from stalwarts like Semmangudi, Nagarkoil Hariharan, P.K.Rajagopal and Chengalpattu Ranganathan (from whom she continues to learn) and, not surprisingly, the music she produces is a mosaic of all the various styles.
Both the main elements of concert, Shanmukhapriya and Saveri, were underpinned by technical perfection and aesthetic presentation. That the vocalist loves to sing long-forgotten compositions, evidently in a bid to bring them back into circulation, was clear.
After a stirring Saveri alapana, in which she used the ‘ma pa da-da pa ma’ with great effect, Seetha took up Swati Tirunal’s ‘Anjaneya Raghurama Dootha’ that she had learnt from Semmangudi-mama.
The line ‘Dinakara bheekara saisava leela’ was taken up for niraval and swaras, which were immensely enjoyable.
Opening the concert with a Kedaragowla varnam, Seetha sang Periasami Thooran’s Saranga composition, ‘Gananathane,’ next. This was followed by a nice Shanmukhapriya alapana. Again it was Swati Tirunal.
Few rasikas may remember ‘Mamava Karunya’ in misra chapu tala sung in concert halls. Niraval and swaras appeared at ‘Kamita dana lola.’
Bhuvinidasudane in Sri Ranjani and a Meera Bhajan in Hamsanandi (Sakhe re) were the other elements of the concert.
While the Sri Ranjani piece was presented without an alapana or swaras, the bhajan meandered on a little too long for comfort. A little balancing here may have provided a better fare. Violinist Neela Jayakumar was again perfection itself, following the artiste in every nuance. But her husband, V.R.Jayakumar on the mridangam showed little variety in strokes and provided a nondescript tani.
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Music Season
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