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Indifferent fare
SINGERS WITH a not-so-exceptional vocal prowess, have to possess extraordinary talent to attract the audience. True, vocalist Geetha Rajasekar had a good schooling. But, unfortunately, she has a colourless, mediocre voice. Her training and knowledge are unquestionably above average.
The Sankarabharanam she elaborated might be grammatically acceptable but lacked lustre. Her rendition of ``Saroja dala netri" and the niraval at ``Samagana vinodhini" were done without a personal touch. The outcome was as expected. Geetha should have cultivated some speciality to make her music impressive. Even the thukkadas ``Poonguyil koovum' and ``Kurai ondrum illai" were just insipid. Neyveli Skanthasubramaniam was sonorous and subdued while the morsing was highly intruding. V. V. Srinivasa Rao matched well Geetha's indifference.
Hollow
The Priya Sisters have developed a style of their own _ bright and fast. Fine. But, should it be so dispassionate? The cutcheri, as a whole, could be termed bright and brisk but the core remained hollow. Starting with ``Sami nine," the Sankarabharanam varnam, and ``Varanamukhane' in Nattai, the sisters rendered ``Lekane" in Asaveri with precision. This particular concert was Haripriya's and Shanmugapriya was just a prop. Both Latangi (``Pirava varam tharum") and Bilahari (``Doraguna etu vanti") alapana by former were loaded with their trait; a surfeit of fast rolling brigas. However, Haripriya could showcase her intense side in the niraval and swaras at ``Ramabrahma thanayudu" in ``Doraguna." It was again Skanthasubramaniam on the mridangam who provided vivid percussion supported by Tiruchi Murali on the ghatam. M.A. Krishnaswami's violin shrieked most of the time.
Fine touch
Mandolin is no more an alien instrument for classical Carnatic music. U.P. Raju and P. Nagamani, the two youngsters have mastered it to perform with finesse. The `gamakam,' soul of Carnatic music, is not an eluding factor with this instrument. This is once again reinforced by Raju and Nagamani. The Kalyani alapana (``Talli ninnu near") was done dexterously by Nagamani touching several of the finer aspects of the raga. The kalpanaswaras were rounded off by Raju with enjoyable variation of swaras of interesting mathematical combination.
Earlier Raju's brief outline of Karnaranjani (``Vanchathonuna" of Harikesanallur Muthiah Bhagavathar), with lilting chittaswaram, testified once again the artistes' involvement and ability. Ramaiah Vittal and Madipakkam Murali added their full support to the concert with perfection.
Mixed bag
Should a concert start with a varnam or a fast kriti? Not necessarily for a maestro like Madurai T. N. Seshagopalan. TNS not only opened his concert with the kriti, ``Munduvenuga" in Darbar but also entered into the luxury of nirval and swaras at Bhagavatha priya." TNS's alapana of Saranga was a mixed bag; it contained breathtaking brigas, touching kaarvais and unfrequented phrases but all in a mess. ``Enta bhagyamu" and the niraval (sigh!) at the charanam were clouded with clipped pronunciation and racy swaras almost bordering on babble. The cohesive force was from the balanced accompanists H. K. Venkatraman on the violin, Trichur Narendran on the mridangam and Neyveli Venkatesan on the ganjira. Seshagopalan's talents deserve admiration rather than appreciation. An ardent Seshagopalan rasika may give the famous Tamil refrain like this: ``Sarangavai konnuttar." Literally or figuratively? One wonders.
G. SWAMINATHAN
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