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Making an impact
PERFECT RENDITION of kritis, alapanas full of bhava, measured swaras and neraval and a judicious choice of songs from the Trinity and post Trinity composers, accounted for the impact-making concert by Vijaya Siva for Nadopasana at Sastry Hall. Maybe he has a feminine voice, but there is weight and depth in his music cultivated by long and hard training. Whether it was Sahana or Madhyamavati or Ramapriya — he executed a brief but succinct RTP in the last-named raga in Tisra Triputa — the singer hit the core of the raga instantly.
The song chosen for Sahana was Tyagaraja's "Raghupate Rama Rakshasa Bhima" in Sanskrit. He confined himself to a galore of sancharas in the charanam line, "Niravadi... " and didn't sing swaras. Then came Syama Sastry's "Palinchu". Could Siva have pitched on any other song after a soulful Madhyamavati alapana? The Todi alapana was wholesome and again it was a heart-warming kriti— Dikshitar's "Kamalambike." Siva's diction stood him in good stead. Of course neraval and speedy swaras added lustre.
Gopalakrishna Bharati's "Tillaittalanamenru" in Sama, Neelakantasivan's "Enraikku Sivakrupai" — in Mukhari the singer began with the line "Kanrukuraikettu" — and Ariyakkuli Ramanuja Iyengar's tillana in Bilahari (seems to be Siva's favourite) were praiseworthy. Lalgudi Vijayalakshmi (violin) while playing the role of an accompanist well enough exhibited her prowess in alapanas and swara duels. Bombay Balaji played the mridangam.
Marathon exercise
Vijayalakshmi and Chitra form the vocal duo (Mambalam Sisters). Hemalatha, another sister, accompanied them on the violin. At the Hamsadhwani concert, Vijayalakshmi could not make it and her place was taken by Hemalatha.
Kandadevi Vijayaraghavan played the violin. Chitra's Suddha Saveri alapana was quite stimulating and the duo chose Tyagaraja's "Darini Tellusukonti" for a marathon exercise.
The last charanam which contains the mudra was given a detailed treatment with neraval and swaras at "Rajitamani". Gopalakrishna Bharatiar's Purvi Kalyani kriti "Nadamadum" was sung pleasingly after a compact alapana by Chitra. "Entaro" (Sri Tyagaraja), "Mayamma" (Ahiri-Syama Sastry) "Navaratri" (Ranjanimala-Mangalam Ganapati) "Gayati Vanamali" (Hamsadhwani-Sadasiva Brahmendra) "Srivenugopala" (Kurinji-Dikshitar) and the mangalam in "Kedaram" added to the stature of the concert. Vijayaraghavan offered good support. Percussionists K. Srivatsa (mridangam) and K.S. Rangachari (kanjira) played a telling tani. Madurai T.N.S. Krishna has acquired his father's style in toto. The idioms and syllables are almost the same in alapanas.
The racy swaras and sancharas bear the TNS brand. The saariram which played in the beginning settled down as he launched the Todi alapana for Syama Satry's "Ninne Namminanu Sada". Neraval and swaras became clearer. He started off commandingly with "Vanajakshi" varnam in Kalyani followed by "Jagadanandaka" (Nattai) Tyagaraja Pancharatnam. Inspiring support on the violin was provided by V. L. Kumar.
Melakkaveri Balaji (mridangam and Trivandrum D. Rajagopal gave percussive support. Srividya Venkatachalam's patanthara was quite evident in her concert. The Kalyani alapana was lively and the Tyagaraja kriti, "Etaunnara," with neraval and swaras at "Srikarudagu" was impressive. Earlier she sang Koteeswara Iyer's "Ininamakkoru" (Bilahari). Anusha is a promising violinist. She has good concert sense and gave good support to Srividya. B. Sivaraman played the mridangam. — KSR
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