Innovative approach

IN HIS recital for the Nungambakkam Cultural Academy Trust, Madurai T. N. Seshagopalan displayed the power and range of his voice with exciting raga and swara exercises carried out eloquently with innovative approach.

He warmed up his voice through his tentative rendition of the opening piece, ``Thulasijagajjanani'' (Saveri) of Tyagaraja. Tracing the regions of Khamas in a style of scaling ragas with a flourish, Seshagopalan exhilarated the audience with a shiny raga survey. The piece, ``Santhangopalakrishnam'' succeeded it in a comely musical form.

In the session of Sankarabharanam, the vocalist engaged himself in depicting its details in a rigorously nuanced and endearing style of raga representation.Delhi P. Sundaararajan's detailed and sufficiently calm and dignified description of Sankarabharanam on the violin evoked keen listening.

Guruvayur Durai (mridangam) and T. V. Vasan (ghatam) enlivened the recital with enjoyable percussion support.

Presenting the contents of his recital powerfully in a pleasing style in unison with the sruti, Seerkazhi G. Sivachidambaram endeared himself to the audience as a skilful singer.

The vocalist's diction of the opening piece, ``Sriganapathini'' (Sowrashtram) of Tyagaraja was deft and reflected his fascination for terseness in aesthetics. The singer drew a cosy outline of Kanada and suffixed it with an impressive execution of the piece, ``Sri Mathurubhootham'' of Muthuswamy Dikshitar in it on the Lord enshrined in the temple at Tiruchirapalli. The piece, ``Sobhillu'' of Tyagaraja in Jaganmohini succeeded it in a smart version.The profile of Poorvikalyani presented by Seerkazhi Sivachidambaram was engaging with nuances.The vocalist was supported by an ensemble of accompanists - V. Suresh Babu (violin), Paiyur C. Gopalakrishnan (mridangam), Tiruvarur G. Saikrishnan (kanjira), J. Ramadas (ghatam) and Tirukkannapuram J. Sourirajan (morsing) with admirable orchestral coordination.

Sankaran Namboodri sang with an enthusiasm to elate the listeners with elaborate vocal exercises. Gifted with a pleasant voice, he surveyed vast scalar extents of the ragas, Kalyani and Abheri, with a zest to display their domains in melodic colours. The pieces, ``Birana'' and ``Nagumomu'' succeeded them in exciting musical forms. The piece, ``Raghuvamsa'' (Kathanakuthuhalam) was presented by the singer with a fascination for its shine in a stimulating instrumental musical form. ``Janani'' of Subbaraya Sastri in Ritigowlai was rendered in a relaxed tempo.

Narmada's narration of Kalyani and Abheri on the violin formed a dexterous demonstration of her proficiency in handling them with fluency of finger techniques. Her accompaniment enhanced the recital's attractiveness considerably.

Palghat Suresh (mridangam) and J. Ramadas (ghatam) provided active percussion support.

Mysore Nagamani Srinath sang with sufficient classical weight. Her painstaking narration of Kalyani included a good number of phrases aimed at an effective reflection of the raga's imposing stature. The piece, ``Ammaravamma'' in it was projected by the performer briskly with a set of crisp lines of neraval and swaras. The vocalist's passable coverage of Devamanohari was followed by a pleasing diction of the piece, Palukavademira. It was completed with a cheerful display of swaras.

Melakaveri Thyagarajan gave support on the violin. His sketch of Devamanohari was assuring and admirably brief.Melakaveri Balaji's accompaniment on the mridangam was helpful to the singer and the violinist. Adambakkam K. Shankar's performance on the ghatam was metrically concordant.

- R.V.

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