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Classically interpreted
THE SERENITY of the accepted idealism of Sankarabharanam was well presented by Sangeetha Sivakumar in her concert under the auspices of Nada Inbam. Striking glimpses of her motivation as not to be satisfied with merely the surface beauty of the raga she sought its charm within her mind and presented it as enticing sancharas. In a way her good music created among the rasikas precious moments of solitude. Her voice was in good harmony with the journey of her manodharma.
The pragmatic perception was manifest in the choice of the kirtanas — ``Maarubalka'' (Sriranjani) ``Maamava Meenakshi'' (Varali) and ``Emi-neramu'' (Sankarabharanam). If the alapana of Sankarabharanam remained resonant for a long time in the minds of the listeners, the elaboration of Varali was marked by character and calibre. The performance only served to emphasise both to the musician and the rasikas that Carnatic music seeks its strength in the Trinity heritage. Probably these songs which she had in mind at the time of raga elaboration spurred her aesthetic instincts to layer the sancharas in strata from the madhyama sthyai to the tara sthayi to capture their glow. The flexibility of Varali and Sankarabharanam were exploited to the fullest extent.
The songs stood out crisply. In rendering them Sangeetha Sivakumar revealed grit and firmness of purpose in her adherence to classical interpretation. At no time in her concert was there even a suggestion of light heartedness. One could sense that while rendering the kirtanas she was conscious of her sacred obligation both to the vaggeyakaras and the expectations of the rasikas.
The violinist S. Varadarajan, mridangist Poongulam Subramaniam and the Kanjira artiste D. Rajagopal were cooperative partners to the excellence of the performance. The impression that the recital made was that good music need not bend to suit the feeble tastes of the times. — SVK
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