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Generation Next on stage
THOUGH THIAGARAJA emphasies the importance of absolute music through his Sreeranjini composition (Soga Suga), the instrument, tambura, an ingredient for chaste music, has been fast disappearing from the Carnatic music screen. Its absence has been robbing South Indian classical music of much of its vitality. This was very obvious when a few upcoming and talented vocalists like Preethy Satheesh, Mahesh and Cherthala Suresh Pai presented vocal concerts during Navarathri celebrations held at the Grama Jana Samooham Hall in Kochi.
Preethy from Cherthala, a disciple of K.Omanakutty and N.P.Ramaswamy, has evolved a style of her own with a sweet voice.
A.R.Mahesh has a powerful voice and a wide repertoire, which he utilised skilfully. His liking for rare compositions by known composers made him unearth Ahaha Naiva in Amrithavarshini by Swathi and Lalite Sree in Bhairavi by Tyagaraja Cherthala Suresh Pai, a product of RLV Music College of Thripunithura, sang in a robust voice, the ragas like Sree with `Srivaralakshmy' by Dikshitar in roopakam and panthuvaraali tied to Sarooruhasana by Swathi. Disciplined and weighty singing steeped in sambridaaya, backed by a traditional `tambura' was the attractive feature of the vocal recital by Guruvayur Manikantan, organised by Ernakulam Karayogam. He began the concert with Varavallabha by GNB, in Hamsadhwani.Then he made the programme maintain the tempo with Sree Remasaraswati in Naasamani by Dikshitar.Varanarada in Vijayasri by Tyagaraja was rendered, keeping its identity clear from that of Varaali, an allied raga.
V. JAYARAMAN
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