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Expert rendition
G. JAYAKUMAR
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Parassala B. Ponnammal showed her prowess by choosing Todi as the main piece.
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Photo: S. Mahinsha
golden voice: Parassala B. Ponnammal.
That Parassala B. Ponnammal should choose Todi as the main piece for the evening showed her prowess as one of the finest Carnatic musicians of all times. For the raga, given its intricacies, falters at the hands of inexperienced musicians.
The kriti was ‘Pankashanam’ in the genre of utsavaprabandham of Swati Tirunal set to Roopaka talam. The utsavaprabandhams are a set of kirtanams composed by Swati Tirunal eulogising Lord Padmanabha.
Felicitation
The concert was held to felicitate Ponnammal who had won the first Samskriti Puraskaram instituted by the Thunchan Smaraka Samithi. The two-hour long Carnatic concert was organised under the auspices of the Chembai Memorial Trust, Thiruvananthapuram.
Ponnammal, the first woman musician to present a concert at the Navarathri Mandapam, began her Keraleeya Sangeetha Kutchery with ‘Amba gouri,’ a varnam composed by Irayimman Thampi and set to Triputta thalam. This was followed by ‘Pahi Nikhila Janani,’ again an Irayimman Thampi kriti in Natta. What followed next was K. C. Kesava Pillai’s ‘Sri Balakrisha Pahimam’ in Poorvikalyani. It was preceded by a short alapana.
Rendering Keerikatte Gopala Pillai’s kriti ‘Sri Pathe Sree Narayana’ in Mukhari, Ponnammal was immersed in the accompaniment of the violin played by Manjula Rajesh.
Ponnammal also rendered a couple of padams of Swati Tirunal in Kalyani and Punnagavarali. The kritis were ‘Kinthu Cheyvu Njan’ and ‘Theliviyalum Mukham Ennu’ respectively.
Ponnammal concluded her recital with K. C. Kesava Pillai’s ‘Vande Mataram’ and ‘Kanaka Mayam,’ again an utsavaprabandham in Huseini.
The thaniavarthanam was performed by Vypeen Satheesh on the mridangam and Adichanalloor Anilkumar on the ghatom.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
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