Good control over laya
N. Vijay Siva
ANUJAN AND Ashwin from Mumbai, gave an elaborate vocal recital under the auspices of Rama Gana Sabha on the occasion of its first anniversary celebrations at Ramar temple in Ramnagar, Coimbatore.
They exhibited their talent at their maiden concert, featuring popular kritis, with well-aligned sruti and good control over laya. The Todi varnam, "Era Naapai," that exuded the fragrance of the raga, gave a good start.
"Sri Mahaganapathe" was brisk while "Nagumomu" (Abheri) that followed stressed on the emotive contents of the kriti. Anujan's raga vinyasam of Madhyamavati for "Dharmasamvardhini" had several traditional sancharas and his saariram in the higher octaves lent a touch of shimmering gloss and the kriti was rendered with bhava.
Ashwin's aesthetically fluent alapana of Poorvikalyani was an illustration of his understanding of the place of gana naya in music for the song, "Meenkshimemudham."
The neraval, followed by a swara deluge, was aesthetically gratifying. The duo deserves encouragement by the local music sabhas.
The violin accompaniment of Guruvayurappan was competent and supportive. The laya display by Palldam Ravi on the mridangam gave an added impetus to the proceedings.
At a vocal recital organised by Thyagabrahma Gananjali, Vijay Siva was in absolute command of kritis and the delineation of carefully chosen ragas.
Indeed, it was a demonstration of his earnestness to sing in a dignified style of communication of Carnatic music.
Exquisite manodharma in the alapanas, karvais, madhyamakala phrases and a general feeling of vishranti were present in an integrated form in the cutcheri.
The felicity of his voice and focus on sruti in "Vinave O Manasa" had an instant impact on the rasikas. The piece, "Cheraravathe" in Ritigowlai was complete with impressive passages of neraval and swaras.
"Maanamuledha" was preceded by a scintillating raga sketch of Hamirkalyani.
"Sanathana Paramapavana" (Palamanjari) and "Grahabalamemi" (Revagupthi) came in for appreciation for proper enunciation of lyrics.
The alapanas of Todi for "Kotinathulu Dhanushkoti," Bilahari for "Tholijanma" and Karaharapriya for "Chakkaniraja" were characterised by highly energised phrasings and robust presentation.
His rendition of Kharaharapriya had a classic touch and "Chakkaniraja" drew wide accolades.
The nuanced rendition of "Seethamma" (Vasantha) and "Eemaneeve" (Useni) were marked by chaste taste and disciplined patantara.
Sriramkumar's fine tuning on the violin with charming idioms and phrases reflective of the vocalist's bhava gave glint to the entire melodic exercise.
He tapped the essences of Todi and Kharaharapriya with ability. Manoj Siva (mridangam) and Mohanram (ghatam) gave active percussive support.
T. K. GANAPATHY
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