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Heights of perfection

V. S.
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Vocal D. Vardhini’s concert was like a journey in classicism.

Remarkable performanceD. Vardhani.Photo: M. Karunakaran
Remarkable performanceD. Vardhani.Photo: M. Karunakaran

Unswerving commitment to art makes its pursuant a maestro and to those who have been witness to such rise of an artiste, it is a memorable experience to enjoy and cherish their performance on home turf. One such was the concert of Vizianagaram D. Vardhani under the aegis of Visakha Music Academy at Kalabharati Visakhapatnam.

For those familiar with her talent here, it was pleasant experience to notice, after a hiatus of six years, the heights that she scaled in perfection. Known for her tenacious pursuit of perfection from her student days in Vizianagaram, she evolved into consummate vocalist in her own right. Added to inherent talent, quality training by her guru P. V. S. Seshaiah Sastry kept her in good stead even from her formative years in art. Having warmed up the session with a varnam in raga Mohana Kalyani, she set out for a journey in classicism through a string of ragas that treated the music aficionados to sumptuous feast. With every phrase in right place and in right sequence, it was like building up a structured edifice of chosen piece in its entire vibrancy.

Lucid tone, timber, texture, volume and remarkable range heightened the emotional and aesthetic appeal of her rendition. She has a penchant for rare ragas and sang Samana rahite of GNB in rarely heard Saranga Tarangini with panache. Her rendition of raga Sankarabharanam for Sankaracharyam of Subbaraya Sastry unveiled its stately profile.

Endowed with a remarkable ability to glide in chosen octave with fluid ease, the way she traversed the trajectory of raga Kapi at amble for RTP was awesome. With the name of the raga imbedded in its pallavi Lalitambika peetavarnathi …suffusing its devotional import, she presented it in an intricate cycle of sankeerna triputa talam. She demonstrated the cycle of the talam before she took up for better appreciation of its complexity.

Replete with gamaka-laden forays her raga essays sparkled in her cascading manodharma. In short, the concert stood out for its scholarly exposition of chosen pieces. Mavuduru Satyanarayana Sarma’s bow wafted the fragrance of raga Sankarabharanam and Kapi, while Mandapaka Nagalakshmi on mridangam and M. Surya Prasada Rao on ghatam were at their best.

V. S.

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