Notes of finesse

Vocalist Vidya Kalyanaraman plumbed the depths of creativity at her concert in Palakkad.

August 28, 2014 06:04 pm | Updated 06:04 pm IST

Vidya Kalyanaraman at her concert in Palakkad.

Vidya Kalyanaraman at her concert in Palakkad.

Vidya Kalyanaraman exhibited her virtuosity and musical prowess when she performed at the Palghat Fine Arts Society, Tharekkad, Palakkad. Her perfect sruti and elegant stage presence caught the attention of listeners. She was high on confidence throughout her vocal recital. Apart from the compositions of the Trinity, she wisely chose a few songs of other composers too, revealing her immaculate planning.

The concert took off to a flying start with the famous Thodi raga varnam ‘Aeraanapai’ of Patnam Subramanya Iyer, succeeded by a sprightly ‘Deva Deva Kalayami’, the popular kriti in Mayamalavagowla, composed by Swati Tirunal. The niraval and kalpanaswaras at the charanam ‘Jaatha roopa’ made it all the more enjoyable. The alapana of Lathangi was a connoisseur’s delight; the structure and texture of the raga was presented with finesse. The Papanasam Sivan kriti ‘Piravaavaam thaarum’ was well presented. The vocalist’s interpretation of ‘Devi Brova’, a beautiful creation of Syama Sastri in the rare raga Chintamani, was appealing. However, one felt that she could have delved deeper into the aesthetic subtleties of the kriti, for which there was ample scope.

The piece de resistance of the concert was Kharaharapriya and a masterly portrayal of Tyagaraja’s ‘Pakkala Nilapati’. Treading the traditional path, she took the listeners to thrilling moments through her creative sancharas in the raga delineation.

Violinist B. Ananthakrishnan responded with a brilliant version of the raga. The elaborate niraval and the vivacious swaraprastharas at ‘Manasuna thalacheemai’ brought to the fore the depth of her manodharma. ‘Annapoorne Visalakshi’ in Saama, composed by Muthuswami Dikshitar, was a welcome choice before the ragam, thaanam and pallavi (RTP).

She took up two contrasting ragas –Varaali and Mohanam – for the RTP. Combining both the ragas skilfully, she wove a delectable garland of captivating sangathis in her analytical elaboration. The way she intersected the two ragas in the thaanam won her applause. The pallavi ‘Ambigai Jagadambigai’ in Khanda jaathi triputa tala was presented in the traditional style with perfection.

The elongated swara korvais that led to a grand culmination was a praiseworthy effort. The soulful ‘Muruganin Marupeyar Azhagu’ (Behag – Surajanandar) and an alluring thillana of Sri Mushnam Raja Rao in Hamsaanandhi proved to be a fitting finale to an enjoyable concert.

Ananthakrishnan impressed with his melodious accompaniment. Nellai A.Balaji (mridangam) and Nanganallur Swaminathan (ghatam) provided able percussive support, marked by soft beats. Their interesting exchanges in the tani in Misra chaapu tala led to a brisk finish.

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