MADRAS MUSIC MELA 2002 |
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RASIKANUBHAVA 9 |
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V Balakrishnan via email...
She commenced her concert with the Hamsadhwani varnam Jalajaksha.
Dikshitar's Siddhivinayakam (Shanmukapriya) has majestic lyrics and
the sangatis flowed freely. The few brisk rounds of swaras were well
received. The Tiruppavai of the day was rendered in Huseni, with great
feeling. Neevadanegana (Saranga) was sung in the usual fast
tempo with swaras at Satyambu nityambu. Dhanyasi alapana with fast
phrasings, touching the higher Panchama, was flawless. Balakrishnan
padamalar of
Papanasam Sivan was the kriti taken up and rendered at a slower tempo. A ragamalika
at this stage of the concert was unconventional but enjoyable. Sudha
took up Dikshitar's Chaturdasa ragamalika Sriviswanatham,
featuring 14 ragas. The audience at the MFAC is a proud lot, and is
considered very knowledgable. The change of ragas coming in quick succession, did
test their abilities to recognize the ragas! Bantureeeti in
Hamsanadam was rendered at jet-speed and made the mridangist produce
loud rhythmic beats in Bhajana-style. Neraval and swaras at Ramanama were exciting. Kharaharapriya
was taken up for
elaboration. Even though the usual sancharas were exploited, the
rasikas did not get enough satisfaction A sruti-bheda that was
attempted did not click and had to be abandoned. The over-exploited Pakkala
nilabadi did not succeed in
arresting the waning attention of the rasikas. A lesser known kriti
would have been welcome at this stage. Manasuna dalachi was the
spot for neraval and swaras. The swaras culminated in a korvai of
unusual length. Narayana ninna (Suddhadhanyasi) of
Purandaradasa, a favourite with Sudha's fans, was sung. The alapana in
Hamsanandi, the raga chosen for RTP, was brilliant and changed the course
of the concert. Quickly moving to Tara sthayi, she did sancharas at
great speed with flawless brigas. Tanam was done with mridangam
accompaniment, as is the practice at the Navaratri Mandapam in Trivandrum.
The Pallavi saw swaras in Valachi, Bahudari, Natakurinji and Revati. The
voice remained in firm grip throughout the exercise. An Abhang in Yamankalyani,
Bharatiyar's Chinnanchiru kiliye and Venkatachala
nilayam in
Sindhubhairavi were the enjoyable tail-pieces which concluded the
concert.
Though Embar Kannan was off-colour in Dhanyasi, he was in his usual
form in Kharaharapriya and Hamsanandi. Mannargudi Easwaran was soft in
his accompaniment and paired beautifully with the nada of the morsing in
the Tani Avartanam.
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