K. Gayathri’s raga delineations bore testimony to her training and manodharma.

Blessed with a powerful saareeram, K. Gayathri's melodious felicity of expression of the choice of kritis in her vocal recital at the Nadabrahmagana Sabha in Vanaprastha, Coimbatore, was replete with aesthetic bhava.

Her opening Bhairavi varnam in vilamba and durita kaalams set the right ambience for the session. ‘Vallabha Nayakasya' in Begada that followed with swaras bore testimony to her training and manodharma.

Poignant interpretation

Gayathri's alapana of Suryakantham for Tyagaraja's ‘Muddumomu' revealed her voice control in the long rests at the madhyama, panchama and in the fast brigha-oriented passages. Her sense of sahitya bhava was evident in her poignant interpretation of ‘Ranganayakam Bhavayeham' with clear enunciation.

The best phase was her lucid portrayal of Mohanam with extensive use of akaras in weaving magic casements around the raga for the rendition of ‘Nannupalimpa.'

The intricate patterns to create its beauty were spell-binding.

Though Gayathri manoeuvred the niraval with aplomb, the swara slippages in between marred the melody. Her creative instincts came to the fore in mapping the contours of Kiravani in all its intrinsic charm and range in the RTP the pallavi being ‘Muraleedhara Mukunda Mukharavinda.' Anantapadmanabha (violin) was dexterous in his bowing. The thani of Sankaranarayanan (mridangam) was a rhythmic treat of musical korvais.

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