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Studded with emotional ripples
IN THE performance of Ranjani and Gayatri, they were absolutely in command of kritis and raga alapanas. The intensity of their expression in rendering the songs, "Tulasidala" (Mayamalavagowla), "Kamalamba" (Ananda Bhairavi), "Amma Raavamma" (Kalyani) and "Raksha Bettare" (Bhairavi) was deep and deft. Kalyani and Bhairavi were elaborated.
Tasteful in concept and scholarly in delineation, the raga sancharas were studded with emotional ripples. A major noteworthy feature in their exposition was tradition enriched by artistry in a brief span.
The technique of Gayatri and the raga picture of Kalyani and Bhairavi's latter half (Ranjani sang the portion in the top shadja) were appealing because of the tender cadences ending each sanchara. The right keys were used to unlock the inherent beauty of Bhairavi to place before the audience its resplendent shades.
The contours of Kalyani and Bhairavi stood out in the array of phrasings, which represented musical perception at its best. Intuition and delicate musical instincts ruled the cutcheri from the start to the finish.
Against such a lofty level of interpretative finesse, the violinist Balu Raghuraman's solo version looked bland. His raga vinyasa was swara-snuffling. B. Sivaraman on the mridangam played with firmness.
If gana-naya makes for the beauty of exposition, it was totally absent in the singing of Suryaprakash. Sound production was almost in a straight line in the alapana of Kalyani ("Biraana Brova"), Karaharapriya ("Taaraadipaanana") and Begada ("Nadopasana").
Musical sentiments were ordinary. He was accompanied by Melakkaveri Thyagarajan (violin) and K. R. Venkatasubramanian (mridangam).
Not so impressive
S. Sundar's concert cannot be said to be very impressive. The presentation lacked emotional contours in the absence of an artistic approach. "Sri Raghuvaraaprameya"(Kambhoji) and "Visaalaakshi" (Pantuvarali) were the major kirtanas handled. K. T. Sivaganesh (violin) was quite competent. Mudhra Bhaskar was the mridangist.
Ordinary recital
Srikant Chari's veena recital was of the ordinary type by the way he interpreted by raga alapanas of Pantuvarali and Sankarabharanam followed by the songs "Appa Ramabhakti" and "Sankaraacharya". Ashwin Sridharan was the mridgangist.
T. V. Sundaravalli's treatment of the raga alapanas Vachaspati and Kambhoji (ragam, tanam, pallavi) spoke of the good training received by her. There was an awareness of proper rendering of kirtanas. The list included "Dayaapayo Nidhe" (Jaganmohini), "Raga Sudhaarasa" (Andolika) "Paraatpara" (Vachaspati) and "Thoomani Maadattu" (Hamirkalyani). Her music would be enhanced if she releases her voice in the sancharas and sangatis beyond the tara shadja. R. Kalaivasan (violin) and R. Yogaraj (mridangam) were fairly co-operative.
Straight approach
Sikkil Gurucharan chose a simple straight approach to make his cutcheri musically presentable. There was backing of good training in his rendering of the kirtanas, "Sri Kantimatim" (Hemavathy) "Evaroora" (Mohanam), "Rama Nine Nammi Nanu" (Huseni) . His alapana of Hemavati registered well in the alapana section followed by Mohanam nourishing the phrasings with great care. Roopa Rajagopal can be said to be just adequate. K. V. Gopalakrishnan was the mridangam accompanist.
Elaborating Mohanam (Rama Ninnu Nammi) Geeta Raja went through all the formalities of raga structuring without much of aesthetic touches. "Toline Jesina" (Suddha Bangala), "Mokshamugalada" (Saramathy) were the other kirtanas. The Saramathy song made some impression. She was well accompanied by Poorna Vaidyanathan (violin) Manikudi Chandrasekhar (mridangam).
D. B. Aswin was very vigorous in conveying his musical equipment. His sancharas of ragas Ritigowla and Kalyani were highly charged with vocal power. Mellowness is what is required to make his style noteworthy. "Cheraravademira" (Ritigowla), "Siddhi Vinayakam" (Shanmukhapriya) and "Nijadasavarada" (Kalyani) formed the song list. Vijay Ganesh and B. Sundar Kumar, on the violin and mridangam kept pace with Aswin's vibrancy. C. B. Ramnarayanan sang "Janakiramana" (Suddha Seemantini) and "Meenakshi Memudam" (Poorvikalyani) without imparting any tonal nicety to nourish the kirtanas or the alapana lines of Poorvikalyani. His objective seemed to be musical volume and not its value. V. V. S. Murari on the violin was more appealing. A. Anand gave to the mridangam expert touch.
Master Balamuralikrishna has good musical sense regarding elaboration of ragas - Pantuvaali and Karaharapriya - but lack of awareness of proper vocal modulation robbed his cutcheri of a favourable impact. The song list covered "Palaya" (Asaveri), "Sambo Mahadeva" (Pantuvarali) and "Pakkala Nilapadi" (Karaharapriya). Srilakshmi Venkataramani (violin) and P. K. Babu (mridangam) just filled the accompanying wing.
B. Arundati framed her concert on the strength of the songs "Chate Buddhi" (Atana with a well structured alapana), "Kasi Visalakshi" (Poorvikalyani) and "Ananda Natana" (Kedaram). Poorvikalyani was elaborated at length. Kandadevi Vijayaraghavan (violin) and Nellai Balaji (mridangam) were the accompanists whose contribution was helpful. Salem Sriram has a strong fluid voice to indulge in fast-paced sancharas in the alapanas of Hamirkalyani and Sankarabharanam well responded to by the violinist Senthil Sivakumar. Salem Ranganathan (mridangam) played with great understanding reading the mind of the vocalist
SVK
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