You close your eyes and you feel it is the guru singing. You open your eyes to see a younger version of the maestro, same white gear, same casual body language, same minimal mannerisms and same professionalism. Over two decades of training under Sanjay Subrahmanyam has sculpted Swarna Rethas into a concert vocalist in persistent form. Swarna Rethas presented two concerts back to back at Powai Fine Arts and Shanmukhananda Fine Arts and Sangeetha Sabha, regaling Mumbai rasikas over a weekend.
At Nahar International School, hosted by Powai Fine Arts, from the word go it was a cascade of good music. Beginning with ‘Saranagatha Vatsale’ in Kathanakuthuhalam composed by Calcutta Krishnamurthy, Rethas went on with ‘Re Re Manasa’ in Nattai by Cheyyoor Chengalvaraya Sastri.
The fast and precise swara prastaram enhanced the rendition. Comprehensive Pantuvarali alapana in pleasant vocal and violin preceding ‘Siva Siva Siva Enarada’ with free flowing impressive niraval and swaras at ‘Aagamamula’ was a spiritual sojourn. Continuing in the same mood, detailing of ‘Marubadi Marubadi’ was an apt usher for Gopalakrishna Bharathi’s ‘Thiruvadi Charanam’ in Khambodi.
Swati Tirunal’s ‘Bhogeendra Sayinam’ in Kuntalavarali, Khanda chapu was a paced mood-changer. RTP in Kharaharapriya, ‘Rama Ni Samanamevaru’ was a complete package. The alapana and tanam came in soothing waves, the violin equally comforting, pallavi in intelligent interpretative variations.
Slokam in Ragamalika, ‘Nanda Tanaya’ of Purandara Dasa in Bageshri, Tillana in Durbari Kaanada, Misra chapu, composition of Thanjavur S. Kalyanaraman and Mangalam completed a carefully structured concert.
Appropriate violin repartees and individual segments by Ravi Anantharaman were appealing. Scintillating mridangam by Satish Krishnamurthy was an apt percussion support besides the much applauded thani with Hariharan Subramanian on the ganjira.
Without a lag
The next evening, ‘Subramanyarpanam’, concert hosted by Shanmukhananda at the Padmaranga Hall, was near 150 minutes of high energy, without a lag. Swarna Rethas opened with ‘Maguva ninne’ in Narayanagowlai, Khanda jathi ata talam, followed by Tyagaraja’s ‘Ra Ra’ in Asaveri.
Dikshitar’s ‘Sri Ramachandro’ in Sriranjani, Misra chapu was an elevating experience. Purandara Dasar composition ‘Entha cheluvage’ in Yagapriya preceded Subbarama Dikshitar’s ‘Shankaracharyam’ in Shankarabharanam, both steeped in devotion. ‘Ninnuvina’ in Manavi came next. RTP in Kiravani was elaborate, erudite and elegant — a comprehensive rendition appreciated by the listeners. Post this came Tyagaraja’s ‘Vidhisakradulu’ in Yamuna Kalyani.
Quick wind-up pieces, ‘Tiruvalar Mayilayin’ in Khamas penned by Papanasam Sivan and a Tiruppugazh verse in Surutti led to the concluding Mangalam. Raghul on the violin and N.C. Bharadwaj on the mridangam were excellent.
Full-throated singing, with clear diction, involvement in the meaning of every word, the variety and well-proportioned repertoire and adherence to the art form are some of the strong points of Swarna Rethas.
