Friday Review » Music

Updated: February 19, 2010 15:38 IST

Veritable recital

A. Ramalinga Sastry
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N. Subbalakshmi rendering vocal for VMDA
Special Arrangement N. Subbalakshmi rendering vocal for VMDA

N. Subbalakshmi's rendition was proof to her finesse and technique.

Visakha Music and Dance Academy featured N. Subbalakshmi, noted vocalist from Hyderabad, to render a recital at Kalabharathi last week. Young and accomplished artistes M. Neeladri Rao and G. Venkata Rao working as teachers of violin and mridangam at the Kalabharathi School of Music and Dance were the accompanying artistes.

Born in a family of connoisseurs of Carnatic music, Lakshmi got initiated into music at the tender age of four and trained with late Tampella Suryanarayana after which she took up advanced training from one of the noted Hyderabad brothers D. Seshachari.

Honing her skills under the expert tutelage of guru Bhagavathula Seetha Rama Sarma in Chennai, she achieved the distinction of being a graduate in music, graded artiste of Akashvani and choicest performer for many a prestigious sangeetha sabhas in the South. Getting off to a fervent start with Natakuranji varnam followed by Indira Natesan's composition Vandeham Amba in Hamsadhvani, she evocatively elaborated Bantureethi Koluveeyavayya Rama (Hamsanaadam) of Thyagaraja.

Exhibiting veritable erudition and rendering in leisurely pace, she made her expression of manodharma (adornments of alapana, neravu and swaram) surface the entire gamut of the raga, sahitya and laya bhavas embedded in the composition. Her effort expansively expatiating Appa Rama Bhakthi (Pantuvarali) and Kaddanuvariki (Thodi)of Thyagaraja as the main item later, sounded heartening and more refined.

Rendering of Nee Daya Raada (Vasantha Bhairavi), Annapoorne (Sama) and Marugelara (Jayantha Sree) in between them and a composition of Papanasam Sivan in Kapi after the main item also in leisurely tempo proved to be a most welcome feature of her exposition of Carnatic music.

Neeladri Rao, both while following and playing his turns, showed his scholarly knowledge and proficiency of technique in playing on the violin with fine finesse. Almost similar was the effort of Venkata Rao on mridangam. His tani was eruditely structured.



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