Presented with organised skill
THE OOTHUKKADU Venkata Kavi's song, "Bala-Sarasa-Murali" in Kiravani with its dance-lilt swara-sahitya gave a kick-start to the performance of Vijaya Siva under the auspices of Vichitrarang. His effort stood for tonal depth, infectious passion and robust presentation. There was organised skill in the arrangement of songs and swaras. An extra vocal thrust in the exposition of raga alapana sancharas (Pantuvarali and Sankarabharanam) and rhetoric in kalpanaswaras contributed to the maintenance of uniform tempo and musical solidity in his concert. Vocal eloquence, to some extent, seemed to interfere with a touch of tenderness that lifts singing aesthetics.
The songs "Intakannaananda" (Bilahari) "Dharma-Samvardini" (Madhyamavati) and "Teliyaleru" (Dhenuka) helped him gain his cutcheri objective. Pantuvarali ("Karuna Jooda Vamma'') and Sankarabharanam ("Sankaraa Chaaryam'') were elaborated in detail. His attempt to focus the appeal of Sankarabharanam was mainly in the tara sthayi with highly energised phrasings. In his recital, Asaveri ("Saranam Saranam Raghurama") was the weakest link. Swift phrasings in it ill-suited the raga's gentle, delicate swaying shades.
In the solo session of Pantuvarali and Sankarabharanam by R. K. Sriramkumar (violin) the perceptible healthy influence of a senior violinist in emphasising the swaroopa of a raga in every sanchara was quite evident. His vision of the nuances of the two ragas stimulated the direction of his manodharma through suitable vents in telling expressions breathing bewitching beauty which contributed to the charm of his play.
The interplay of karvais and sancharas, depth and delicacy brought out the solid graces of Sankarabharanam in particular. J. Vaidyanathan on the mridangam, alert in anticipating the musical process of Vijaya Siva, made his percussive embellishment distinctive. He brought power-packed vitality to his beats with primacy given to lift up the songs and swaras.
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