Vocal interpretations

R. K.
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Music The Sharada Cultural Trust music concert began with much fan-fare but the quality of singing lacked in exuding real feeling.

Grammatical brilliance R.V. Panduranga Sarma
Grammatical brilliance R.V. Panduranga Sarma

D ay one of the Sarada Cultural Trust music concert, opened with R.V. Panduranga Sarma's vocal concert which had all the trappings of classicality: the rigidity in rendition, command over the medium sans the sweetness.

The subject-intensive approach can be best appreciated in a classroom but not in a kaccheri. Your tala could be arithmetically accurate to its finest beat, your ragalapana as per the rules quoted, your sangathees and neraval loud and clear with precise rise and fall. A balance in the choice of songs to different talams, scattered across various composers. The grammar of music notwithstanding, a performing artist should be able to wield the magic wand and capture his audience within the first one hour to say the least.

The Sri raga varnam began on a dull note leading to Kapi Narayani on Ganapathi and then to Yevarani in Devamrutavarshini. Nothing really happened except that we were all listening intently for something more to happen to hold our attention and breath! Dikshitar's Subramanyena rakshitam… in Shudda Dhanyasi with just meager swarakalpana did not make the desired impact. The Kamas ( Rama sujana jeevana.. ) is usually catchy but the effect was miniscule. To the credit of the artist, it must be mentioned that it was a full-throated neraval in place for this piece. The Poorvikalyani alapana went to explore the raga nuances in a factual manner. The violin replay by O. Rajashekar was very impressive. Gyana mosaga raada… with varied sangathees were rendered with effort and the neraval to Paramatmudu, jeevatmudu.. went on like a refrain in myriad ways without an iota of emotion!

After a patient wait, came Ranganayaki.. a Dikshitar composition in Nayaki in a steady tone which breathed some life and warmth into the kaccheri. The lyrics and the raga had an inborn beauty that refused to be marred by a pedantic rendering.

A long-winding alapana in Khambhoji followed by Koniyadina naa pai… was a little garbled as far as the lyrics went, which was surprising considering Sarma's clarity in diction. V. Rajeev who lent vocal support sounded more melodic of the two singers. Be it the Abheri or the Navarasa Kanada Nann oru vilayattu bommaiya.. , dry rendition is no longer the order of the day. Scholarship has to be laced with feeling if it is to be appreciated in terms of music to a large gathering. Burra Sriram on the percussion was his usual best. The recital was hosted at Srimad Andavan Ashramam in Secunderabad.

R. K.



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