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Judicious choice of kritis
SAVITA KRISHNAN'S concert for Hamsadhwani, sponsored by Sriram Group, was marked not only for the Bombay artiste's vidwat but also for her sense of proportion in exhibiting her wares. This was discernible in her alapanas of Bilahari and Kalyani in particular. Tightness in laya helped her also to keep up the tempo of concert and she won universal appreciation.
Mysore Vasudevachar's "Sri Chamundeswari" (Bilahari) was sung with correct phrasings and the chittai swarams (composed by Achar himself) supplemented by a few rounds of manodharma ones to give added glamour. Expectedly, the Kalyani alapana was rendered at some length with choice idioms and phrasings, and appeared tailor-made for Dikshitar's "Kamalamba Bhajare". The swaras added glamour. That the success of a concert depends on judicious programme was reiterated by Savita's choice of variegated kritis. Tyagaraja's pancharatna kriti, "Sadhinchane" (Arabhi) gave a divine start. Melakkaveri Thiagarajan (violin) and B. Shivaraman (mridangam) played their roles to perfection.
Expansive alapanas
Singing to a handful of audience at what was billed as a concert under the auspices of Hamsadhwani - there was no announcement of the concert in the morning paper - Pushpa Anand did not lose heart or zest in her two hour plus session. Her alapanas were expansive and kritis rendered at an even pace and effectively too. Revealing a good patanthara, she started the concert without violin support initially. Kalyani Shankar joined her midway through the Saveri varnam. An erstwhile student of MLV, there was a galore of brigas in Pushpa's renditions. She sang the maestro's favourite Natabhairavi kriti, "Srivalli" (Papanasam Sivan) in style.
The Hamsanadam alapana was a brave bid, and the artiste sang Uttukadu's "Kalyanarama" evocatively. Shankarabharanam saw her in full flight, though the quality of the alapana was of mixed nature. K. V. Gopalakrishna was the mridangist.
Subtle and subdued
More known for speed, vigour and a penchant for virtuosity, the violin duo (M. Lalitha and M. Nandini) were refreshingly more subtle and subdued in their renderings, especially in Syama Sastri's Yadukula Khambhoji swarajati, in their concert for Nadopasana.
They captured to a fair degree, the devotional fervour of the composer, by adopting the correct poise and pace. The raga alapana was heart-warming. After the melodic marathon, the duo got a well-deserved cheer. The Madhyamavati alapana, and Tyagaraja's "Ramakatha" with swaras, Dikshitar's "Gajananayutam" (Chakravakam), GNB's "Kamalachandran" (Amritabehag) and Rajaji's "Kurai Ondrumillai" were handled deftly. Tanjavur Ramadas (mridangam) and Trichy Murali (ghatam) excelled in the tani avartanam. — KSR
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