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Sound in basics

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N. Harish, disciple of Vijay Siva and Srimathi Brahmanandam, showed promise and potential in his concert. The Gowla kriti of Dikshitar `Sri Mahaganapathi' heralded the programme with appreciable energy. `Ragarathnamalikache' in Reetigowla, the niraval and the `Melkala' kalpanaswaras indicated that sound training stands the artiste in good stead. Roopa Rajagopal, violinist, was able to effectively communicate suitable responses. Lathangi, the 63rd mela, was elaborated with positive inputs by the singer and the violinist. The base, structured development, and the final touches were of a spirited demeanour. The Kedaragowla expansion was quite a cut above the rest of the agenda, bearing testament that a good style stemming from proper guidance, an intelligent thought process, discipline and focus, were the essentials for refined interpretation. Roopa's cameo had its own charm. Ramanathapuram Srinivasa Iyengar's `Saragunapalimpa' was rendered with enough listening appeal, while the lyrical delineation and swaras were evidence that the artiste has built his art on the solid plank of classicism. The solo percussion display by Kumbakonam Swaminathan and his accompanying prowess had perceptive, laya sensitivity. A Tillana in Karnaranjani concluded the performance of an artiste with encouraging musical material. SULOCHANA PATTABHIRAMAN


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