Rich repertoire

S. Sivakumar
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Vocal Sankari Satish's raga alapanas were reasonably good and it revealed her long years of learning. S. Sivakumar

Sankari Satish Bharadwaj
Sankari Satish Bharadwaj

S ankari Satish Bharadwaj, as she sang for TTD (at Chennai), showed that she had sufficient talent and temperament and was a singer endowed with rich potential. Her special interest and liking for vilamba kala kritis stood out as the concert progressed. The opening Thodi varnam, followed by two kritis, ‘Vandeham' (Hamsadhwani, Annamayya) and ‘Sri Venkatesa' (Balamanjari, Patnam), were promising and also indicated the range of repertoire at her command.

The well-spread alapanas for Dhanyasi (‘Syama Sundaranga,' Tyagaraja), Shanmukhapriya (‘Marivere,' Patnam) and the prime-time raga, Kedaragowla (‘Saraguna Palimpa,' Poochi Srinvasa Iyengar) were marked by clarity of approach to the ragas as such. The alapanas were reasonably good and revealed long years of learning. Her faithful adherence to stipulated order in rendering sangatis was formal without being pedantic.

Well-sustained bhava

Sankari's swaras for Shanmukhapriya invited the attention of the rasika for its compactly structured patterns that were discreetly used to suit the contours of the raga. She included one more of Annamayya's songs, (‘Vade Venkatadri,' Vasantha) followed by ‘Paramaatmudu,' (Vagadeeswari, Tyagaraja) and ‘Bogeendra Sayinam' (Kunthalavarali, Swathi Tirunal) to provide an educated mix of songs. Vagadeeswari's rendition had its bhava well captured and well sustained.

Sankari has a perceptibly thin voice that is not always at its best - remains unheard - in the mandhara sthayi and she enjoys more comfort while traversing the higher octaves. This was visible both overtly and covertly at many instances during her singing. She should advert to this aspect with greater care and caution. Her getting into the ‘concert-practice' more would help her tide over this difficulty. She thoughtfully launched her niraval at ‘Varaguna Seshadri' (for the Kedaragowla kriti) which affords abundant scope to employ phrases that belong to the higher sthayi.

Akkarai Sornalatha on the violin scored with her raga alapanas bringing out the phrases in a progressive manner, filling burnished crisp brigas between karvai pidis and accompanied with considerable merit to follow the swara rounds with complete self-assurance. Kumbakonam Swaminathan on the mridangam had many innovative ideas that were translated to produce arudis and korvais with aplomb in a manner that was grand, carrying with it a sense of perfection.



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