Proper training and a facile voice are always assets for a performer. Priyanka C. Prakash from Bengaluru, who has trained under vidushi Neela Ramgopal, exhibited a voice that has a creditable range, backed by open throat articulation.
At her concert at Tirumala Tirupati Devasthanam, she overcame the initial hiccups of and imbalanced audio system, with a quick ‘Jaya Jaya’ (Purandaradasa) in Nattai. Then she chose the bright ‘Raghuvara Naanu’ (Tyagaraja) in Pantuvarali adding a precise niraval and firework swaras at ‘Manasoona Neekae’.
The less familiar Dikshitar kriti, ‘Sri Venkatesam’ in Kalyanavasantham, preceded the raga essay. Dikshitar’s ‘Ramachandram’ with swaras on ‘Kakustham Deemantham’ showed Priyanka’s penchant for calculative swaraprasthara.
The Ritigowla alapana was done with insight and Priyanka showcased some captivating phrases in the mandhra sthayi and the upper region. The kriti here was ‘Cheraravathae’ of Tyagaraja. Simhendramadhyamam and Mysore Vasudevachar’s ‘Ninne Nammithi’ with the customary niraval and swarakalpana at ‘Neeraja Nethra,’ formed a major part of the concert.
Priayanka’s ability to traverse all the regions with ease, and her confidence are favourable aspects. But, she also needs to focus more on exploring the soul of ragas such as Ritigowla and Simhendramadyamam.
They impress the listener better when the artist touches the poignant places of raga bhava. Priyanka’s Ritigowla had such moments. She also needs to watch on the sruti and eschew slender slips while navigating a raga or kriti.
M.Vijay on the violin followed Priyanka in all her moves with efficiency and little Akshay Anand on the mridangam was a real surprise and performed his part with competence.
