Margazhi Festival

True to tradition

Prema Rangarajan

Prema Rangarajan  


Prema Rangarajan adheres to the classical tradition. Presenting a vocal recital for the Sabha’s mini series, she began with the Ata tala varnam in Khambodi, after which came Muthuswamy Dikshitar’s ‘Panchamatangamukha’ (Malahari) with a short spell of swaras for the Madhyamakala lyric “Varaguruguha…”

Abhogi (‘Ni Kepudu Daya)’ set a breezy precursor to the Purvikalyani kriti. This item had niraval and swaras for the pallavi. The alapana of Purvikalyani was neat bringing out the characteristic features of the raga. Narmada on the violin was impressive; the chosen song was ‘Nadamadum Nadhanadi’ again with niraval and swaras for the pallavi; the korvais in the swara segment added stature to the piece.

Both Prema and Narmada presented appealing portraits of Nagaswaravali, which was followed by the popular song ‘Garudagamana.’ A rarely heard kriti ‘Bhajanaseyu’ in Narayani was presented with élan. The main raga was Shanmukhapriya and Prema proved her strength in essaying ragas.

Muthiah Bhagavatar’s ‘Vallinayakanive’ was rendered well and the niraval of ‘Tallitanri...’ was interesting, particularly the kalpanaswaras that had attractive combinations. It was time for tani avartanam and Mannarkoil Balaji acquitted himself well. In fact, he provided understanding support on the mridangam throughout the concert.

The recital concluded with a kavadichindu, short virutham and a lovely thillana in the rare raga Surya, composed by Rukmini Ramani.

Not all was well with the amplification. While Prema’s voice at lower register sounded shaky, there was a marked echo when Narmada played. Strange sounds also emanated a few times from the mridangam.

Why you should pay for quality journalism - Click to know more

Recommended for you
This article is closed for comments.
Please Email the Editor

Printable version | Jan 28, 2020 3:05:06 PM |

Next Story