|
Music Season
SRI THYAGA BRAHMA GANA SABHA
Accountability eliminates self-indulgence
LALITHAA KRISHNAN
|
Amrutha Venkatesh emerges with a clear conscience after self-enquiry.
|
Kiran Bedi, the Michelin guide, Amrutha Venkatesh. In case you’re wondering what they share in common, it’s the A-word. Accountability. In a scenario where a worrying trend points to artists sometimes succumbing to the ‘anything goes’ syndrome in a bid to send popularity ratings soaring, accountability is about the only thing that can help them say a firm ‘No’ to self-indulgent exercises. Accountability implies self-enquiry. That Amrutha
Venkatesh emerges with a clear conscience after such self-enquiry is evident in every aspect of her music.
Chiselled alapanas that make every phrase count, compositions enriched in musical content by patanthara, niraval and kalpanaswaras that would much rather pursue raga bhava than march up and down the scale - all these elements ensure wholesome music that provides fertile ground for creativity.
A perfectly sruti-aligned, gamaka-rich start in the Kedaragowla varnam ‘Sami dayajooda’ (Tiruvotriyur Tyagaiyyar) with easy reach in the higher and lower octaves announced that the voice was in fine fettle. In Tyagaraja’s ‘Ninnu Nera’ (Pantuvarali) steadily-held shadja karvais intensified mood in anupallavi and charanam, while sarvalaghu swaras achieved a perfect blend of pace and permutation, easily scooping applause without even a whisper of korvai or kanakku. The vocalist took the listener on a leisurely tour of Bilahari, bypassing tourist trivia and dwelling upon truly significant landmarks that made the visitor’s experience worthwhile. Multifarious hues surfaced at the dhaivatha, with frequent thoughtful inclusions of the suddha madhyama to avoid inadvertent suggestions of Mohanakalyani. The swaying gait of Tyagaraja’s rarely heard ‘Narasimha Nannubrovave’ soothed and rejuvenated. Arunachala Kavi’s ‘Kanden Seethaiyai’ (Vasantha) in which Hanuman brings anxiously awaited news about Sita’s whereabouts to Rama, was rendered with verve.
Bhairavi glistened with emotive madhyama-kala phrases at extended sojourns in the panchama, tara sthayi shadja and rishabha suites, the alapana culminating effectively at the tara sthayi shadja. Shama Shastri’s leisurely ‘Sariyevvaramma’ enfolded you in the warmth of bhava, while the niraval at ‘Parama Paavani’ was fraught with meaning in pause and suggestion. The extensive kizhkala swaras extracted essence, while melkala swaras chose the nishadha for emphasis and the panchama for kuraippu.
Amrutha’s accompanists proved the perfect foil for her sensitive imagery. L. Ramakrishnan (violin) presented an empathetic Bilahari and a sparkling Bhairavi replete with mature, polished phrasing, rounded gamakas and silky jarus. Remarkably, the young artiste was totally sync with the vocalist’s interpretations - a refreshing change from chalk and cheese pairings. Likewise, Arjun Ganesh excelled on the mridangam. His playing carried panache, indicating a fine artiste in the making.
Printer friendly
page
Send this article to Friends by
E-Mail
Music Season
|
