Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
Ragas in all their splendour
G.SWAMINATHAN
|
The ragas chosen by Amrutha Murali had the zest but the compositions were of sedentary style. While V.K.Manimaran’s raga alapanas were the highlights of his concert.
|
Lively: V.K.Manimaran.
Amrutha Murali’s concert at Hamsadhwani, Indira Nagar, Adyar, had cloying relaxation making one feel that little spice would have made it more relishable.
The ragas chosen had the zest but the compositions were of sedentary style.
Interesting swaras embellished at ‘Kala Muna Sobillu’ in the beginning for Tyagaraja’s Mayamalavagowla kriti ‘Meru Samana.’
Ritigowla alapana carried enough of sweet phrases to ponder and the kriti here was from Syama Sastri’s chest ‘Ninnuvina Marigalada.’
Amrutha’s niraval and swaras at ‘Syamakrishna Nuthe Bhakta Paripalana’ were replete with the empathy required for the raga as well as the tenor of the kriti.
The extra piety and the protracted delivery of the Gopalakrishna Bharati’s Nandanar Charitra composition ‘Vazhi Maraithirukkuthe’ touched the heart a little too much almost stealing the allure of the Nattakurinji.
Amurtha could have concentrated and given more accents on the raga too as much as she offered for the bhava.
Purvikalyani, the main melody of the evening unfolded in absolute astuteness and the development was more on plain phrases.
Amrutha Murali.
A few interludes of brigas and fast moving akaras would have definitely created a difference in the final version.
Her choice went in favour of Dikshitar’s ‘Meenakshi Memudam’ which could never be hastened at any cost. Even the concluding Behag number was soporific. Padma Shankar on the violin was more alert and vibrant in her approach to the raga expositions and swara sojourns.
Kallidaikuruchi Sivakumar on the percussion could offer only marginal contribution in stepping up the tempo of the concert.
Stirring recital
A resonate voice is V.K.Manimaran’s gain, and he used it to the full advantage eschewing flamboyance was the special facet of his Hamasadhwani concert.
Manimaran’s Hamsadhwani number ‘Varana Mukhava’ with a swara string and the flashy ‘Swaminatha Paripalayasumam’ in Nattai adding lively swaras at ‘Parvathi Sukumara’ stirred the audience interest. Maran’s raga alapanas were indeed the highlights of this concert. Pantuvarali and Kharaharapriya were inspiringly conceived, internalised and delivered. Pantuvarali was full of dash and spirit while Kharaharapriya was riveting with reposeful phrases connected elegantly with finer akaras. ‘Ninnarul Iyambalaguma’ of Sivan in Pantuvarali and the niraval and swaras in ‘Innal Kootti Inbamootti Indrajala Viddhai Kaatti’ went with full force. Tyagaraja’s ‘Pakkala Nilabadi’ in Kharaharapriya and the spotlight on ‘Tanuvuche Vandana’ were done with professional élan.
However, instead of using loose links, a concerted effort in framing the penultimate swaras and setting the korvai would make Manimaran’s swara imagery more attractive.
The favourite fillers of Manimaran perhaps may need a review as these were often heard from him. Nevertheless, the kritis exuded their characteristic charm. ‘Orukkal Siva Chidambaram’ in Arabi, ‘Marivere Gati’ in Anandabhairavi and ‘Sri Sankara Guruvaram’ in Nagasvarali were his pet inclusions. Violinist M.A.Sundaresan’s experience was visible in his support and so was the percussion padding of Umayalpuram Mali on mridangam.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
