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Nuances captured well
BOTH THE starting and concluding items - a Varnam in Valaji and Tillana in Kalyanavasantham - were her own compositions in the violin concert of T. Rukmini and her disciple Ramakrishnan. Rukmini's choice of ragas were apt for the morning _ Reetigowlai, Chandrajyoti, Bindumalini, etc.
The alapana of Suddhahindolam also known as Varamu preceding ``Tunaipurindarul" of Papanasam Sivan was indeed very attractive, touching the subtle nuances of the raga.
After a short spell by his guru, the Latangi raga delineation for ``Venkataramana" was picked up by Ramakrishnan and he justified his selection to accompany her.
The main item was the Bhairavi kriti ``Yaro Ivar Yaro" of Arunachala Kavi. The Raga essay was a dignified display of the Gana Raga by Rukmini.
The Kalpanaswaras proved to be an interesting parlay between the two violinists and the two percussionists Madirimangalam Swaminathan on the mridangam and T. D. Balasubramaniam on the ghatam.
The latter two also followed up with an interesting Tani Avartanam, besides playing a very supportive role throughout the concert.
One could sense the nervousness of young Ramakrishnan while playing the kalpanaswaras in landing at the starting place of the Talam. On each occasion Swaminathan gave him an encouraging smile.
Engineering student Charulatha Mani was able to bring out the essence of the ragas very well in her alapanas as evident from her essays of Hamsadhwani, Janaranjani amd Hemavathi; the last mentioned Raga followed the Nadaswaram technique a lot as did Todi towards the end of the concert. The item which stood out was the raga alapana of Hamirkalyani and the Dikshitar Kriti ``Parimala Rangantham." It was sung in the Hindustani Drupat style, making evident Dikshitar's versatility of compositions. Charulatha capitivated the audience with her rendering. After the Todi Alapana she took up ``Ninnenamminanu" of Shyama Sastri.
The vocalist, however, needs to tighten up her kriti rendering a little. Also if she had omitted a song or two in the middle, there would have been more time to do justice to the main item.
One wished that she would linger a little longer in the lower octave when singing the ragas, as her voice sounded very pleasant at that level. Jayanti Kesahv's effort on the violin was commendable as was that of Umayalpuram Kalyanaraman on the mridangam.
LAKSHMI VENKATRAMAN
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