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Accurate and tidy
BEGINNING WITH Pallavi Iyer's Kalyani Ata Tala varnam sung accurately in two speeds, Aruna Sairam in the vocal concert for Chennai's Medium Channel moved on to a tidy rendering of Tyagaraja's "Marugelara" in Jayantasri.
The Reetigowla alapana was rather constrained, and the tonal modulation contrived, possibly perhaps of a non-cooperative voice. However, the kriti rendition of Tyagaraja's "Nannuvidachi" was earworthy. The Ranjani delineation also beset with the same problems of the Reetigowla essay, was nevertheless a valiant effort to overcome the odds. "Durmargachara" of Tyagaraja, one of the singer's favourites, and the swara sequences in the charanam were sung with grit and determination.
A Ponnaiah Pillai kriti in Anandabhairavi was a worthy starter in Allepey Venkatesan's vocal concert on November 7, relayed by Chennai's A Channel. Saveri delineated with vilambha and madhyama kala phrases, exuded the raga swaroopa considerably. Venkatesan's alapana of Sahana as a prelude to Tyagaraja's regal "Giripai nela" was a positive interpretation focusing on the rakti of the melody. The swara sequences fell well within the ambit of precision and classicism.
A bright raga alapana of Bhairavi was the bottom line in the vocal concert of Palladam V. Sairam on November8. His kriti versions of Koteeswara Iyer's "Gana naya desika" in Rishabhapriya and Swati Tirunal's "Janani Mamava Meya" were commendable in terms of melody and involvement. The neraval and orderly swara sequences for the Bhairavi song showed that the artiste's musical instincts were quite on song.
Charumati Ramachandran is an artiste with a difference. Her grey cells are constantly searching for fresh musical avenues to explore. Her vocal concert on November10. Chennai's A Channel had pleasing alapanas of Salagabhairavi, Nattakuranji and Behag. "Irakkam varaamal" in Behag, Vedanayagam Pillai's "Karunalayanidhiye" in Hindolam and Bharatiar's "Payum oli" as a ragamalika beckoned the listener with gentle melodic waves.
BY A CORRESPONDENT
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