Pleasant and powerful

APARNA SRIDHAR'S vocal concert was relayed on Chennai's A Channel on July 3 with M. A. Krishnaswami on the violin and Thanjavur Kumar on the mridangam as her accompanists. Bestowed with a high pitched powerful voice, the artiste began the recital with Mysore Vasudevachar's ``Pranamamyaham'' in Gowlai. The competent kalpana swaras that were affixed to the Pallavi, and the well-organised end Korvai did leave an impression.

``Maravadhiru'' in Andolika of Muthuthandavar was a tidy rendition. Ramapriya was elucidated at length in deliberate fashion, covering a considerable gamut of the raga with an array of energetic prayogas. ``Sringara Saktyayudha'', a rare kriti of Muthuswami Dikshitar on Lord Subramanya, with its colourful sangatis and swaras in the Pallavi made pleasant listening.

Another kriti of Dikshitar ``Kshitija Ramanam'' in Devagandhari was a flowing version. The Madhyamavati expansion showcased the artiste's performing ability, but there was need to present a more composed portrait, instead of packing the prayogas, however skilful they may be one after another with scarcely a breather. Pauses every now and then would enhance listening pleasure.

After a refreshing alapana of the violinist, Papanasam Sivan's ``Saravanabhava Guhane'', a weighty composition was embellished with a few Dhurita Kala swara sequences in the Pallavi.

Aparna Sridhar is confident and competent; some more composure will most certainly help her along.

Melodic effort

``Parameswara Jagadiswara'' of Dikshitar in Nattai with a string of swaras in the Pallavi ushered in the vocal concert of Ranjani Swaminathan on July 6 relayed through Chennai's F.M. Channel I. A concise raga elaboration of Dharmavati uncluttered by excessive frills, was a fluent, melodic effort. M. A. Sundareswaran on the violin responded to the alapana with fair aplomb.

``Ramachandrasya'', not a very familiar kriti, with swarakshara poruthams, was a slick version. Tyagaraja's only known kriti in Raga Vardhini `Manasu' with swara improvisations in the Pallavi was a fair interpretation.

Mohanam was expanded comprehensively with sensitivity in different kalapramanams eschewing irrelevant flamboyance. ``Nannupalimpa'' of Tyagaraja that has the beauty and gait of a caparisoned elephant, had a minor lapse in the anupallavi with the prati madhyamam making its appearance in the lyrical sequence, ``Vanaja Nayana'', and similarly in the charanam - otherwise a pleasing rendition. The niraval and solfa passages fell well within the ambit of a tidy presentation.

Kumbakonam Saravanan's tani avartanam marked by rhythmic accuracy and laya competence deserved acclaim.

BY A CORRESPONDENT

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