Musically enchanting
G. Jayakumar
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Sudha Raghunathan and Sanjay Subramaniam took listeners on a musical voyage at the Soorya Music and Dance Festival.
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VOICES OF EXPERIENCE: Sudha Raghunathan regaled the audience. Photo: S. Mahinsha , S.R. Raghunathan
When Sudha Raghunathan sings, the emphasis is on the sahitya bhava or the expression of the literary content. And on the second day of the Soorya Dance and Music Festival in Thiruvananthapuram, this recipient of the Padmashri award and disciple of M.L.Vasanthakumari, presented listeners with an enchanting experience.
Racy tempo
`Karthikeya... ' is a kriti by Papanasam Sivan dedicated to Lord Muruga. This kriti in Thodi was the main composition of the evening, which Sudha Raghunathan began with an elaborate raga alapana.
A striking feature of this piece was the fast paced kalapramanam, swara sancharam and niraval in the pallavi. Neyveli Skanda Subramaniam performed the thaniavarthanam with equal ease and grace on the mridangam and R. Raman on the morsing.
The vocal concert began with a varnam composed by Pattanam Subramonia Iyer in Hamsadwani. Then, she rendered a Ganesha stuti `Gajananam... ' and followed it with Dikshitar's `Sidhivinayakam... ' in Chamaram set to rupaka talam. After that a composition of Syama Sastri, `Nannu brova... ' in Lalitha was mellifluously sung. The next piece in Atana `Elanee dayaradhu... ' a Tyagaraja kriti followed. She also rendered a ragamalika Bhavayami, which comprised ragas such as Saveri, Nattakurinji, Mohanam, Mukhari, Poorvikalyani and Madhyamavati.
The thukkadas that followed included `Jayatu jayatu... ' (Yamankalyan), `Mann ke ankheim... ' (Vagulabharanam), and a ragamalika `Kurai ondru elai...' Pakkala Ramdas supported Sudha Raghunathan on the violin.
VOICES OF EXPERIENCE: Sanjay Subramaniam regaled the audience. Photo: S. Mahinsha , S.R. Raghunathan
Voice modulation
Thirty-seven year old Sanjay Subramaniam ranks among the most popular Carnatic vocalists of the younger generation. One reason for this could be the voice modulation technique that he uses to perfection to suit the occasion.
At the Soorya Dance and Music Festival, Sanjay Subramaniam's concert, began with a Ada tala varnam `Maguvaa nine... ' in Narayanagoula.
This was followed by a Thyagaraja kriti `Maakelara... ' in Ravichandrika. Then, he rendered Swati Tirunal's `Samodham... ' in Sudhadhanyasi.
With a raga alapana that lasted for quite some time, he presented the essence of Poorvikalyani rendering Satravizha set to rupaka talam. `Nannu palimpa... ' a kriti of Tyagaraja in Mohanam was the highlight of the concert. It was set to Adi talam.
The thaniavarthanam that followed was by Arun Prakash on the mridangam. A ragam thanam pallavi in Dharmavathy was also presented.
The other compositions included `Sri Kamalambika... ' in Sahana, and a couple of thukkadas, viz. Karpuram narumo (Khamas), `Naadi thedithozhuvaanai... ' (Bageswari).
S. Varadarajan ably accompanied Sanjay on the violin.
However, the thaniavarthanam proved quite monotonous possibly because of the absence of a third instrument like the ghatom.
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