Manda Sudharani’s concert was engaging and erudite

Manda Sudharani

Manda Sudharani   | Photo Credit: The Hindu


Manda Sudharani’s concert was high on nuances despite the voice playing truant

Manda Sudharani’s vocal recital stood out for sheer diligence and musical excellence. Though the voice played truant in the beginning, she managed to bring it under control as the concert progressed. Two major offerings need special mention — Kharaharapriya and RTP in Hamsavinodhini. A discerning listener could identify the way Sudharani developed a raga with an eye on the nuances and devised the swarakalpana with interesting swara matrices.

Kharaharapriya was structured quite leisurely and her choice was Tyagaraja’s ‘Nadachi nadachi’. The extension and swaraprasthara were taken up on the anupallavi line ‘Pudamisuta sahayudai.’ Her swara suite was not built up frantically, but care was taken to structure every strand differently. Ranjani Ramakrishnan on the violin expertly resonated the vocalist.

Well-planned RTP

The RTP was once again a well-planned journey. Sudharani chose to showcase a rather rare raga like Hamsavinodhini in detail. Here also Ranjani followed Sudharani in a commendable manner. After the tanam, the pallavi went as ‘Samagana swaroopini vani hamsavinodhini ambuja lochani.’ The swara section was well-knitted. The finale centered on ‘gandharam’ brought a deserving applause. Sudharani later explained that the syllables of each word in the pallavi, composed by her, was set in a count of 5. If she had mentioned this before rendering the pallavi, the audience could have enjoyed it more.

She even did a ‘grahabedam’ and switched over to Sunadha Vinodhini, including the name of the raga at that moment.

The other thoughtful additions were ‘Sarasooda’, and ‘Vallabha nayakasya’ (Muthuswami Dikshitar), a neat and precise essay of Gamanashrama (53rd Mela raga) followed by ‘Idi neeku nyaayama’ (Mysore Vasudevachar), ‘Kamala dalayatha lochana mulave’ in Bahudari (Dr. Balamuralikrishna), ‘Sri guruna palitosmi’ in Padi (Dikshitar) and the concluding, ‘Madhava mamava’ in Nilambari (Narayana Tirtar).

D.S.R. Murthy and G. Ravichandran on the mridangam and the ghatam bolstered the quality of the concert in every way. Their tani avartanam was framed and presented with sobriety. Manda Sudharani deserves appreciation for presenting an engaging and erudite recital.

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Printable version | Jan 27, 2020 3:49:32 AM |

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