Moves with devotional spirit
THE VOCAL concert of Aruna Sayeeram made an instant impact with the house full overflowing audience in the Madhyamakala kalpanaswaras for the opening ``Sri Vignarajam Bhaje" sung with great gusto and rhythm. A brief Devagandhari raga delineation and the kriti ``Enneramum" revealed the artiste's bhakti and total involvement. Begada raga, sans roller-coaster brigas, and the kalpanaswaras for ``Thyagarajaya" demonstrated her asurasadhakam.
Beautiful korvais in sarvalaghu swarams and the clarity in ``Ardhanareeswaram" gave a heavenly feeling in ``Kumudakriya." She moved the rasikas with her deep devotion in ``Kanavendamo" (Sri Ranjani), Ragam Thanam Pallavi ``Bhagyadalakshmi Baaramma" (Madhyamavathi-Adi) with each Ashtalakshmi finding solace in one of the eight ragas rendered as Ragamalika swaras (Kambhoji, Kurinji, Atana, Mohanam, Sahana, Ranjani, Bhairavi and Lalitha).
Embar Kannan's melodious violin rendition of each and every raga, manodharma swaras, thanam and pallavi were outstanding. The pleasing percussion support and enthusiastic thani of Neyveli Narayanan (mridangam) and Guruprasad (ghatam) was overwhelming. The Marathi Abhang, ``Bhaaje Mrudanga," folk item, ``Mannupugazh" (lullaby sung in praise of Lord Ram), ``Jo Jo Rama," left an everlasting impression on the rasikas making it the outstanding concert of the season.
The emotive raga Saramathi rendered with shruthi suddham in each solfa note and the Krithi, ``Mokshamu" with kalpanaswaras in Vilamba Kala was one of the highlights of T. M. Krishna's kutcheri. Soothing Todi alapana concentrating mainly on Madhyasthayi sancharas and interwoven niraval ``Changa Chakra" with a shower of kalpanaswaras adorned ``Shri Krishnam."
Ragam,Thanam, Pallavi in Manirangu (Tisra Triputa) with a swaragarland in Kalyani, Saveri and Simhavahini won audience acclaim. H. K. Venkatram's felicity with violin and Vellore Ramabhadran's mridangam support, Thanam and Thani displayed their vidwat. Since TMK's resonant voice reaches any range, correct mike volume will ensure full enjoyment.
Vocal maestro T. N. Seshagopalan's veena concert, started with the leisurely rendering of ``O, Jagadamba" (Ananda Bhairavi) followed by the morning raga Malayamarutham (Manasa Etulor) and niraval with kalpanaswaras in ``Kalilo Rajasa" had a soothing effect. V. V. Ravi's good violin support and his exceptional rendition of Chandrajyothi raga (Bagaya nayya) needs special mention. Barring minor slips, the neatly rendered Kharaharapriya raga with Thanam (Ghanam) and intricate well-calculated kalpanaswaras in ``Thanuvuche" (``Pakkalanilabadi") brought out the best ``Anubhavam" and mastery TNS has built up in vocal music over the years. A reverberating Thani by Guruvayur Dorai (mridangam) and T. V. Vasan (ghatam) added value to the concert.
Carnatic music played on the electronic keyboard by the charming seven-year old Sathyanarayanan was a treat to the rasikas who yearn for variety. His effortless ``Mallari," ``Vathapi" (Hamsadhwani) and ``Sri Parthasarathy" (Suddha Dhanyasi) with correct eduppu in kalpanaswaras and the raga vistara in Mohanam (Gopika Manoharam) revealed his talent and swaragnanam. To give a stage performance at this tender age without any formal training in Carnatic music under a Guru, is an achievement. ``Ninnuvina" (Navarasa Kannada) with a volley of sangathis followed by few other pieces like ``Brahmamokate" and Lalgudi's Tillana in Mohana Kalyani had audience appreciation. Ananthapadmanabhan (violin) and Parthasarathy (mridangam) gave an understanding support to the young lad in every respect.
Senior vocalist, N. C. Soundaravalli's concert exhibited maturity in rendering ``Sri Mahaganapathe" (Nattai) and ``Ganamurthe" (Ganamurthi). Eduppu swaram for Ganamurthi could have been Ri sa ri instead of Ga ri sa. Niraval and swarams for ``Meppulakai" (Ramanannu Brovara, Harikambhoji) were meticulously rendered. Ragas Mohanam (``Gopika Manoharam") and Simhendramadhyamam (``Asaindadum") had neatly spaced out sancharas in the higher sthayis. However sruthi went out of alignment often due to her troubled voice. The extensive Madhyamavathi (``Parthasarathy") raga elaboration and niraval swaras for ``Sarva Dharma" captivated the rasikas. The Parur bani vidwat was evident in M. S. Anantharaman's able violin support throughout.
Percussion support by Skandasubramaniam (mridangam) and Ramakrishnan (ghatam) elevated the tempo of the concert.
The up-and-coming artiste Saketha Raman (vocal) performed well with sukham, right tempo and sruthi alignment. The kalpanaswaras for both ``Vandeham" (Hamsadhwani) and ``Sogasu" (Kannada Gowla) were just right. The raga delineation of Varali and niraval swaras for ``saatile nee" (Eti Jenmamu) were poised.
Madhyamavathi (Ramakatha) occupied the central place with good elaboration, range and niraval in ``Bhamamani," but with some shortcomings in swarakorvais before finally landing at the correct destination. Lalgudi Jayaraman's Tillana (Vaasanthi) and Thiruppugazh rounded off the concert.
Akkarai Subhalakshmi's effortless and melodious violin and the soft percussion support from K. V. Gopalakrishnan (mridangam) and Guruprasad (ghatam) complemented the concert.
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