Interesting choice of kritis

Venkat Nagarajan

Venkat Nagarajan  

Clear voice and good breath control are Venkat Nagarajan’s strengths.

The best of the concert by Venkat Nagarajan for Sarvani Sangeetha Sabha was the main item in Bhairavi. The raga alapana and the rendering of the kriti ‘Thanayuni Brova’ of Tyagaraja were indeed praise-worthy as was the effort of violinist M. Vijay. There was ‘azhutham’ in Nagarajan’s singing. But the niraval of ‘Vatsamu …’ or the swaraprasthara had nothing special to offer.

Venkat began the concert with a couple of rare items – the varnam in Nilambari ‘Nivanti Deivamu’ set to Ata tala by Tarangambadi Panchanata Iyer and the kriti ‘Sri Kanchi Nayike’ in Asaveri by Annaswami Sastry.

Nagarajan has a strong and clear voice. If only he could mellow the tone a little his music would sound more appealing.

Similarly his good breath control was proved by the long karvais lasting even two cycles of Adi tala. Nevertheless it would be better not to indulge in it too often.

Alapana of Hamirkalyani prefixing ‘Maanamuleda’ was decent but repetitive. The use of ‘ma’ as Swaraakshara for singing swaras for the pallavi was interesting. After ‘Sri Shukra Bagavantam’ in Paras, the Navagraha kriti for Friday, Nagarajan took up the elaboration of Janaranjani, which was quite attractive and Vijay’s effort had more sowkhyam. The chosen song was ‘Nadatina Maata.’ While the niraval of ‘Thalakuvachina’ was a standard affair, the play with the swaras was pleasingly improvised. The folksy ‘Maavallakadamma,’ a composition of Chittoor Subramaniya Pillai in Misra Maund was a cheerful piece.

The thani by B. Sivaraman on the mridangam and S. Krishna on the ghatam proved to be as interesting as their supportive accompaniment through the concert.

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Printable version | Apr 6, 2020 6:05:50 PM |

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