Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
Youthful tunes
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Ananya’s Deepotsava series of concerts was delightful
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The Deepotsava held under the aegis of Ananya at its own auditorium, was a pleasurable experience with performance of young artistes bursting with talent. The opening concert of the Deepotsava was given by the youthful and well-equipped singer Kalava
thi Avadhoot. Backed by the vast experience and frequent exposures, Kalavathi imparted a fine listening experience. At the outset, “Deva Deva” by Swati Tirunal (Mayamalavagowla) and sahitya and swara vinyasas at “Daanta roopa” sharpened the ears. During the singing of Thyagaraja’s “Naada tanumanisham” (Chittaranjani), she brought to fore an interesting variety of laya in singing the line “sarigamapadani”. The Goddess “Kamakshi” was saluted in a leisurely gait. Thyagaraja’s rare krithi in Athana raga “Chede buddhi maanura” enthralled with a lively pace. Though it is a rarely-heard krithi, the rendition could establish intimate rapport with the audience. Another rare gem that shone forth was Muthuswamy Dikshitar’s “Sadaachaleshwaram bhavayeham” in a majestic laya.
Kalavathi had chosen Madhyamavathi raga as the principal item of her concert.
Accordingly, “Rama katha sudha” was ornamented with artistic manodharma articulations. T. S. Krishnamurthy (violin), A.V. Anand (mridanga) and Ramesh (ghata) were the seasoned accompanists.
***** B.R. Geetha, hailing from a traditional musical family and a staff member of Akashwani, Bangalore, is well-versed in various forms of music like Carnatic, Hindusthani, Sugama Sangeetha. She proved this yet again, in her vocal recital held on the second day of Deepotsava. The singing of “Bhaja bhaja manasa Raghavendra” in Jog raga in the later part of the concert held mirror to this observation.
With Nalina Mohan (violin), V. Krishna (mridanga) and Srishyla (ghat) vying for equal honours, Geetha prefaced her concert with a varna in Kalyani raga. A quaint krithi “Veda Maathe Veda Vinuthe” (Nata) by Muthaiah Bhagavatar was endearing.
With a brief alapana in Devagandhari followed by that grand krithi “Ksheerasagara shayana”, she solidified her recital. “Manavi naalaginchara” and “Nee dayarada” sustained the tempo.
Geetha’s artistry fully blossomed well in the raga, tana and palavi “Tarakabrahma Swaroopini Tamarasadalanetri” (aditala). Shlokas from Ramakathaamritha were sung in Shahana, Mohana and Kapi ragas.
***** A quiet and unassuming flautist S. A. Shashidhar was cool and convincing in his seasoned flute play on the third day. His co-artistes B. Raghuram (violin), B. R. Sridhar (mridanga) and B. Rajasekhar (morsing) inspired him to give out his best. Vasudevacharya’s “Sri Mahaganapathe” (Athana) with a short swaravinyasa was elegant.
I was pleasantly surprised and enjoyed each and every moment of the Thyagaraja krithi “Varashiki vaahana” set to a delightful Supradeepa raga in praise of Lord Subrahmanyeshwara. The swaras for “Nee daya raga” were impressive.
Mohana was delineated in all its glory for “Evarura ninnuvina” and came with beautiful swaras. “Neekela daya raadu” in a racy Kadanakutoohala raga vouched for Shashidhar’s mastery over laya.
He was at his versatile best in the detailed treatment of Dikshitar’s “Senapathe paalayamaam”.
M. SURYA PRASAD
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
