SITA NARAYANAN'S vocal recital at the Music Academy on December 21 was marked with a quite dignified quality. Her renderings of Dikshitar's "Shri Maha Ganapathi" in Gowlai and "Ilalo Pranatharthihara" of Tyagaraja in Atana were tidy versions. Sahana was elaborated with slow and madhyama kala prayogas soundly focussing on the rakthi of the raga.
Violinist Radha Sundaresan' s reply was adequate. Patnam Subramania Iyer's "Rama Ika Nannu Brova Radha" was the kriti chosen in Sahana.
A pleasing expansion of Subhapantuvarali with commendable sruti adherence drew a favourable audience response. The madhyama kala pramana of the alapana avoiding the slow phrases that would have reflected a mood of pathos indicated sensitive conscious forethought.
The niraval and swara prastharas for Tyagaraja's "Yennalu Oorage" in the Anupallavi was well organised. Begada, a raga totally in contrast to the swaroopa of Subhapantuvarali, was a good choice, and the raga delineation punctuated with mellifluent phrases was underlined with fluency and clarity.
Sita's version of "Sri Matha," a composition of Dikshitar, did justice to the kriti's musical and lyrical substance. However, a few phrases in the charanam could have been pruned to conform to the raga bhava and lakshana. The competent niraval with the raga swaroopa intact and the swara prastharas crowned by a precise finishing sequence, provided the platform for the tani avartanam by Thanjavur Ramadas on the mridangam and B. Ravi on the ghatam that in accordance with the spirit of the concert did not rouse the rabble.
BY A CORRESPONDENT
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