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Adhering to classicism

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PROMISE Priyanka revealed good voice control
PROMISE Priyanka revealed good voice control

Priyanka Prakash and Kalavathy Avadhoot performed with remarkable proficiency

Young vocalist Priyanka C. Prakash,accompanied by M.P. Aditya(violin), and PhanindraBhaskar (mridanga), performedat the Venugopalaswami Temple,Bangalore, on Friday.

While "Tathvamariyatharama" inReethigoula, "Kshanameva" in Bhupalamand "Narayana" in ShuddhaDhanyasi set the concert on a courseof patent classicism, aided by a powerfulvoice and promising talent, thealapana of Panthuvarali, and the neravaland kalpana swaras appended tothe Thyagaraja krithi "Raghuvara" inaditala, bore testimony to rigoroustraining. "Yelara Krishna" in Kambojiwas followed by "Unnaiyallal" in Kalyaniraga and aditala, including anexpressive neraval and kalpana swarasat "Neeye Meenakshi", and a crispand clear rendition of OothukkaduVenkatasubbaier's "Neeradasama" inJayanthasri.

The alapana of Todi, the main raga,revealed good voice control in thelong rests at the madhyama, panchamaand shadja, in the effortless progressionto the tara sthayi madhyamaand panchama, and in the fast bhrigaorientedpassages. Exclusive usage ofa clean akara, instead of some othervowels employed, would howeverhave enhanced the impact of the teenagedartiste's style. "SrikrishnamBhaja Manasa", sung at an invigoratingpace with clear diction, was supplementedwith neraval and kalpanaswaras at "Shankha Chakra", executedwith commendable proficiencyand ‚lan, and notwithstanding an occasionalfluctuation in tempo, indicativeof inherent potential.

The concert, augmented by melodiousaccompaniment from theyoung violinist and expert supportfrom the percussionist, concludedwith the sloka "Shanthakaram" set toan appealing Varali, Bilahari and DarbariKanada, the Meera Bhajan "HariTum Haro" and a tillana in Khamas.

* * *

The Sri Thyagaraja Gana Sabha Trusthosted a vocal concert on Sunday byKalavathy Avadhoot, accompanied byB. Raghuram (violin), B.C. Manjunath(mridanga), and S. Shrishylan (ghata).

The concert, an example of steadfastadherence to tradition and technicalprowess camouflaged in soft andmelodious felicity of expression, beganwith "Samidayajuda", ThiruvottiyurThyagaier's adi thala varna inKedaragoula, and progressed with"Jayajayajaya Janakikantha" in Nattaraga and khanda chapu thala, embellishedwith a few kalpana swaras. TheDikshitar krithi "Sadachaleswaram"in Bhupalam was also supplementedwith kalpana swaras, while theThyagaraja krithi in Madhyamavathi,"Vinayakuni" set to adi tala was prefixedwith an alapana and featured aneraval but no kalpana swaras. Dikshitar's"Ehi Annapoorne" in Punnagavaraliin adi tala, with its heavy gamakaoriented structure, was a rare and delectablechoice.

The Poorvikalyani suite, the mainitem of the concert, comprised a detailedalapana, "Meenakshi Me MudamDehi", the majestic Dikshitarcomposition in aditala, neraval at"Madhurapuri Nilaye", and a spate ofkalpana swaras that attested to theartiste's consummate command overlaya, ending with an excellent taniavarthana incorporating absorbingpermutations and combinations.

The artiste's exposition of Behag inthe ugabhoga and the ensuing devaranamaby Purandaradasa highlightedthe scintillating allure of the ragain a variety of sancharas that traversedthe scale up to the tara sthayi panchamawith ease.

"Sarvam Brahmamayam" in DarbariKanada, and a bhajan in YamanKalyan, both of which were soulfulrenditions emphasising both sahityabhava and raga bhava, brought theconcert to a close.

MADHAVI RAMKUMAR


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