Allam Durga Prasad’s Pantuvarali proved his artistry. Priya Sisters maintained the right tempo to uphold the audience’s spirit.
Sarvani Sangeetha Sabha has been promoting classical music and encouraging young talents for the past 25 years. The sabha, which celebrated its Silver Jubilee recently, at the Music Academy Mini Hall, organised a seven-day concert series dedicated to Saint Tyagaraja.
Gottuvadyam is an instrument finding least patronage among the artists as well as rasikas. Not withstanding this fact, Allam Durga Prasad has mastered playing this soft and melodious instrument. His 90-minute programme underlined a vibrant Pantuvarali unfolding its many hues in the elegant alapana, swift presentation of the kriti ‘Raghuvara Nannu’ and through extensive niraval and swarakalpana in the charanam.
Gamakam, the vital aspect of the instrument, was achieved with sincerity by Durga Prasad. The Arabhi Pancharatnam ‘Sadinchane’ found its place in the first part of the concert after the bright ‘Sobillu Saptaswara’ in Jaganmohini. Gowri Manohari raga and ‘Guruleka Etuvanti’ were commendable.
M.R. Gopinath (on the violin) played in such a way that he did not overshadow the sound of gottuvadyam. His raga essays were minimal but matured. Kallidaikuruchi Sivakumar and A.S. Krishnan on the mridganam and the morsing respectively, gave able support with an eye on their decibel levels not to drown the main instrumental music.
How do you like a concert opening unusually with the Varali Pancharatnam ‘Kana Kana Ruchira’ for a change? Well, Priya Sisters who are known for their penchant for buoyant binge opened their recital with this. But, they maintained the right tempo to uphold the audience’s spirit and at the same time not rushing through the kriti packed with eight long and slow set charanams loaded with swara sahityam.
Haripriya augmented the attention of the listeners with a quick round up of Begada and the composition here was ‘Lokavana Chatura.’ The swara sorties between the siblings through out the concert were structured with tact and time sense.
Hamsanadam raga treatise shared by both was lively and precise. ‘Bantu Reeti’ and the swara soiree at ‘Rama Nama’ were graceful. Mohanam alapana by Haripriya was basically on the liner mode but was a satisfactory spread out. The best part was the rendition of the kriti ‘Nannu Palimpa’ in the right tenor with the sangatis cascading and emphasising the beauty of Mohanam with poise in every line. The mandatory niraval and swaras were appended at 'Garamuna Chara Kothanda'.
The sisters were accompanied by a rather over zealous supporting artists. M.A. Krishnaswamy on the violin almost noisily chased them relentlessly on raga alapana and swaras. The percussionists Patri Satish Kumar and B.S. Purushotham provided sound support literally and figuratively.