Immersed in bhakti
STRONG AND sustained blowing, commendable manodharma, good patanthara and avoidance of unnecessary frills were in full evidence at B. Vijaya Gopal's Sriram Group-sponsored flute recital at Hamsadhwani. In a well-planned programme he had included an RTP in the caressingly enticing Nattakurinji in Misrachapu. Though it was a good advertisement for his vidwat it was the rarely heard Jayamanohari alapana that made a better impact on the discerning audience.
In this mini kriti ("Nee Bhakti Bhagya") Tyagaraja has extolled the value of bhakti without which of what use is life the saint-poet asks. The artiste brought this spirit well enough with varied sancharas and crowned it with a bout of swaras at the pallavi - the kriti comprises just four lines. While Vijaya Gopal's alapana emphasised the finesse violinist V. L. Kumar supplemented it with a few strong and pleasant phrasings.
Kallidaikuruchi Sivakumar, while playing his supplementary role well, excelled in a tani avartanam.
Expansive alapana
A comprehensive and expansive alapana in Begada bringing out the core of the raga strikingly for Tyagaraja's Nadopasana was the highlight of M. Balamuralikrishna's two-hour concert at Bharatiya Vidya Bhavan's mini hall. A sizable audience quite enjoyed the varied fare; the neraval and swaras in particular at the charanam of the Begada raised a special cheer. The co-operative efforts of S. P. Anantapadmanabha (violin) and the upcoming mridangist Shankaranarayana received the wonted appreciation. Syama Sastry's not frequently heard "Nannu Brovapada" in Janaranjani (Triputa tala) with tilting swaras at the pallavi, Pantuvarali alapana for Dikshitar's "Ramanatham" and Tyagaraja's "Aparadhamula Manvi" (Durbar) deserve special mention.
Immaculate show
Perfect co-ordination of voice, clear pronunciation, good laya sense and total involvement are the basics for the success of group singing. That this was present aplenty in performance of the students of Sulochana Pattabhiraman at Raga Tarangini did not come as a surprise to the well-attended audience at Srinivasa Sastry Hall. Sulochana's hard and dedicated training of her wards is well known and Lalgudi Jayaraman, chief guest, heartily congratulated the teacher and blessed her students commending them for an exceptionally immaculate show.
In all, the students sang as many as 17 kritis from The Trinity and other composers.
The programme began with Vasudevachar's Mandari varnam and followed by Subramania Bharati's "Karpaga Vinayaka" in Hamsadhwani.
Sangatis constitute the cornerstone in Carnatic music. Especially in Tyagaraja compositions, each sangati expresses a different bhava devotional. The teenagers repeated the sangatis and achieved the effect in "Hechharikaga Raararaa" (Yadukula Khamboji).
The same pattern was followed for other compositions and the music became more and more contemplative and quite deserved the encore that was given at the end of the song. The teermanams by the young percussionists equally earned applause. The following are participants: Guru: Sulochana Pattabhiraman. Vocalists: Dharini, Lakshmi, Revathy, Varshini, Rama Raginisree and Sairanjani. Violin: M. S. Ananthakrishnan, Swarnalatha and Rajeev. Mridangam: Surendran and Sailendran. Ghatam: Chandrasekhara Sarma. Flute: Girishkumar. Co-ordinator: Kalpagam Madhavan.
KSR
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