The concert of Sangeetha Sivakumar for the Fifty-Fifty Club suggested good basics. The natural flow and style contributing to phrasings and pace stressed consistency and control. The rendering of songs was bright and alapanas articulate. She drew out the sangatis and sancharas with concern for classy taste.
What her concert proclaimed was the importance she gave to the choice of kirtanas. It began with the rare Harikhambodi piece 'Sani Thodi Teva.' The characteristic sangatis in this song were well brought out. Tactical sense backed up by training on right lines saw to it that demonstrative instincts were not strongly manifest.
The Nayaki item came next - 'Sri Ranganayakam.' The sahitya profundity of the composition was given primacy. Though there was not much sparkle, there was substance. The graceful fluidity of the kirtana as she sang, raised the dignity of her presentation.
Laudable effort
The alapana of Abhogi preceding the not-in-vogue song 'Manasunilpa Sakti Leka Pote' was composed and poised with restraint. The sheer effort she put into the raga essay had to be acknowledged.
The recital's main plank was Sankarabharanam ('Enduku Peddala'). Sangeeta Sivakumar was quite conversant with the characteristic pidis of the raga and on those lines, the elaboration was carefully guided. The utter familiarity of the song handled both by savants and novices alike counted in her musical skills. She wanted to register her objective so keenly that she put enormous pressure on the sancharas in the tara sthayi.
V.V.S. Murari was the violin accompanist, a very responsive companion in building up the level of the performance. His playing technique was smart, confident and successful. Melakkaveri Balaji (mridangam) was all the time busy with enthusiastic support. A little overboard, perhaps. For, silences and spacing are as important to percussive artists as to vocalists.
