SEETHA NARAYANAN'S recital for Sri Thyaga Brahma Gana Sabha at Vani Mahal reflected her experience as a senior musician with a mature perception of the facets of Carnatic music. Utilising the power and pleasantness of her voice, she succeeded in her endeavour to convey the contents of her recital in a classically strong style of vocal music. The vocalist's description of Subhapanthuvarali was vibrant and included a good number of sensitive phrases and moving musical visranthis. Her diction of the piece, Ennallurake of Thyagaraja in it was directed faithfully towards a reposeful representation of its musical details. Sankarabharanam was expressive in a style of rigorous raga rendition. Her rendition of `Endukupeddala' of the same composer in it was classy in a meticulously practised musical version.
Bright and brisk
S. Vijayaraghavan's sketch of Sankarabharanam on the violin revealed the grandeur of the raga. D. Govindarajan (mridangam) lent lively rhythmic support.
Lathangi Jayamohan exhibited a high standard in her vocal recital. The concert picked up with her delineation of Bilahari as a bright and brisk preface to the piece, "Tholijanmamu" of Tyagaraja. Following a dainty description of Poorvikalyani, the vocalist rendered the Tiruppavai, "Koodarai" in a diction set movingly to a relaxed metrical mode of the misra chapu.
R. Kalaiarasan (violin) and Papanasam Kumar (mridangam) accompanied the recital skilfully.
Bangalore T. V. Ramaprasad seemed to suffer from a throat problem in the beginning. The opening piece, Gajavadana (Sriranjani), was rambling followed by some straggly swara exercises. The recital, however, gained momentum with his painstaking presentation of the captivating piece, Bagumira (Sankarabharanam) of Veenai Kuppier in a form reflective of the convincing level of his musical intuition (Jnanabhava). Following a happy execution of the piece, Sangeethajnanamu (Dhanyasi), the singer drew a sketch of Hemavathi resourcefully and completed it with a comely portrayal of the piece, Sri Kanthimathim.
Vittal Ramamoorthy's rendition of the raga, Hemavathi, on the violin was resplendent. Kumbakonam K. Ramakrishnan (mridangam) enthused the audience with lively percussion patterns.
Sankar Ramani's rendition of the pieces, "Bhagayenaiya" (Chandrajyothi) and "Kamalaptakula" (Brindavanasaranga) of Tyagaraja was sweet in non-strident musical forms. The singer's description of Dharmavathi lacked depth although, the piece, Parandhamavathi of Muthuswamy Dikshitar was palatable. Sankar Ramani's account of Karaharapriya was imaginative. The piece, "Chakkanirajamaragamu" of Tyaagaraja was enticing. S. Chandran's (violin) bright performance in the phase of Karaharapriya merits praise. Mayuram Muralidharan (mridangam) extended intelligent percussion support.
Geetha Raja gave a lucid account of Hindolam and completed it with a delectable exposition of the Rama Nataka Keerthana, "Ramanukku mannan mudi" of Arunachala Kavi. Equipped with effective practice in a disciplined style of vocal music, she traced a wide extent of Charukesi skilfully. The piece, "Adamodi" of Tyagaraja succeeded this raga phase with a spell of placid neraval and swara passages. Radha Sundaresan accompanied the vocalist with her violin capturing all the nuances. Neyveli Ramkumar (mridangam) and Nanganallur Swaminathan (ghatam) provided animated percussion support.
Young Sindu K. Doss gave a promising account of her proficiency in Carnatic music. Gifted with a sweet voice, she sang with sruti intact. Employing the essential phrases, the singer developed a short and succinct profile of Mohanam. "Kapali" of Papanasam Sivan replete with soulful sangathis. Simhendramadhyamam was a pleasant delineation and Ninnenammithi of Mysore Vasudevachar in the raga was rendered impressively.
The vocalist received good support from C. K. Vijayaraghavan (violin) and R. Hemanth (mridangam).
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