K.P. Nandini’s well-thought concert offered plenty of variety.
The temperature dropped considerably that evening. With the Nageswara Rao Park adjoining Raga Sudha Hall, Mylapore, wearing a fresh look thanks to a light drizzle, it was the perfect setting for K.P. Nandini’s concert under the auspices of Naada Inbam this past week.
After a fast paced ‘Ganapathiyae’ (Kharaharapriya-Sivan), Nandini chose Meesu Krishnaier’s Jaganmohini composition, ‘Daya Payonidhay.’ Mridangam vidwan B. Ganapthyraman’s ornate arudis and nadais lifted the kriti to another level. The voice of this up and coming artist, known for its thickness earlier, is shriller than before. Is it a conscious make-over?
A well negotiated Kapi alapana showed the hard work she has been putting in. Violinist R. Satish Kumar, another youngster on stage that evening, did not lag behind in his reply.
Tyagaraja’s ‘Intha Sowkhiyamaninay’ was full of sowkhiyam. It sent this writer on a nostalgic trip recalling the days when Uma-Geetha (Mayavaram sisters) used to sing this song at akandam with such felicity.
And the positive influence of her mother Uma is reflected in Nandini’s singing.
Delineating Shanmukhapriya proved to be a cake walk for Nandini that evening. Weaving phrases around the pratimadhyamam with accent on akara, she came out a clear winner. However, the unwarranted kalpanaswaras robbed ‘Sadaashrayay Abhaymbhikay’ (Dikshitar-Rupakam) of its emotional appeal.
Nandini should concentrate on her diction a little more, for she kept repeating ‘Marugaylara’ as ‘Marukaylara’ in her rendition of the saint’s kriti that was the breather before the main Kalyani.
Was it necessary to choose two pratimadhyama ragas for detailing within a short span? However, essaying it with the ease of a veteran, Nandini stole the show in the lower and middle segment. Her light treatment in the upper octaves was not quite appropriate to the scheme of things, though.
Carnatic music is all about singing from the nabhi. Falsettos or crooning techniques should have no place in this realm. Of late, this trend seems to be catching up among young students of Carnatic music -- adopting such western techniques while singing ragas. The onus lies on gurus to impress upon their students the perils of such forays. ‘Pankajalochana Pahi’ (Swati Tirunal) was a prosaic rendering leading to an array of swaras.
An understanding Ganapathyraman played a two-minute tani leaving the stage to Nandini to wind up the concert with tukkadas.