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Veena at a fast pace
VIRTUOSITY SANS melody will be an apt description of Rajhesh Vaidya's veena recital at Kunnakudi Vaidyanathan's Raga Research Centre. That speed is his forte Rajhesh proclaimed even in his very first number _ Dikshitar's "Vatapi Ganapatim" (Hamsadhwani). The percussionists, Karukurichi A. Mohanaraman (mridangam), Karukurichi Subramaniam (ghatam) and Sunder (morsing), fully cooperated with Rajhesh in raising the decibel. The tani avartanam in the end quite entertained and got the approval of laya experts.
The Hamsanandi kriti, "Pavanaguru" was another speedy number. But it is Patnam Subramania Aiyar's "Raghuvamsasudha" (Kadanakuthuhala) which makes most of the instrumentalists go berserk.
Rajhesh was no less equal with a tornado of sancharas _ the kriti itself has an exciting line of chittai swaras, to titillate the listeners and the artiste fully exploited this. Kanada alapana for Alaipayudey, Kiravani for "Devi Neeye Thunai" were followed by "Sarasa Samadana," (Kapi Narayani), "Chinnanjirukiliye," a tillana, and "Chandrasekhara" (Sindhubhairavi).
The team got an uproarious ovation at the end of the concert and Kunnakudi Vaidyanathan paid tribute to every artiste comparing each of them with old time vidwans, which might not have gone down well with a few vintage members of the audience.
Forceful phrases
Visalakshi Nityanand's vocal recital was more robust than sublime. Her phrases were forceful and telling. On a few occasions, her alapanas took the style of the gawais of Hindustani music. Tyagaraja's "Chaalakalla ladu" in Arabhi was sung with all vigour.
Vasanta alapana was rendered comprehensively for "Malmuruga" with neraval at "Sendil..".
Swaras flowed freely. The Abheri alapana saw the artiste reach peak form and the song, "Nagumomu" had a galore of sangatis, especially at "Jagamela Paramatma".
Visalakshi received good support from veteran violinist Tiruvarur Balam and Mannargudi Ramaswamy.
KSR
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