Prema Rangarajan’s rendition was rich in manodharma

Prema Rangarajan’s concert at Mylapore Fine Arts Club, Mylapore, Chennai.

Prema Rangarajan’s concert at Mylapore Fine Arts Club, Mylapore, Chennai.   | Photo Credit: Photo: M. Karunakaran


Her RTP showcased the veteran’s mastery over laya

Having been in the concert circuit for more than two decades, Prema Rangarajan’s maturity and insight came through in her evening recital for Mylapore Fine Arts Club, Chennai. Here was a vocalist uninterested in speed for the sake of it or technical heroism detached from musical intent.

Her mastery of laya was evident in her RTP in the unique Panchamukhi Misra Jampa Talam, where the first beat of laghu and the two dhritams are Khandam. The alapana and tanam in Varamu showed her sense of restrained adventure. On the violin, Pakala Ramadas excelled in the delineation as well as in the tanam.

Complex pallavi

The Mummoorthy pallavi, ‘Thyagarajaya Dikshithendraya Syamakrishnaya Namaste’ was a melodic journey with ragamalika swarams in Valaji and Suddha Saveri. Mannarkoil Balaji’s rhythmic flourishes on the mridangam nourished the pallavi and kept the aesthetic intact. Madipakkam Murali (ghatam) too kept pace with the demands of the complex pallavi.

The centrepiece of the concert was Ooththukkadu Venkatakavi’s Kalyani kriti, ‘Sarasija Bhava Jaye’ on Goddess Saraswathi. The kriti had a generous shower of swaraksharas. The niraval and swaraprastara in Adi Tala Tisra Gati were arithmetically accurate and artistically appealing.

Mention must be made of the swift and sombre playing by Pakala Ramadas that added grace to the whole exercise. The thani by the Murali and Balaji was impressive. The latter’s solkattus gave an aura of majesty and power to his rhythmic exposition.

Prema Rangarajan commenced the proceedings with GNB’s Andholika varnam. In Papanasam Sivan’s ‘Arulpuri Ainkarane’ (Saraswathi) she rendered swaraprasthara at ‘Omkara Rupa.’ In ‘Pahimam Parvathi Parameswari’ (Dikshitar – Mohanam-Rupakam) she chose to sing the swarams at anupallavi, ‘Mohna Sundara Swarupini.’

Following the alapana in Nattakurinji, she rendered the Dikshtar kriti ‘Parvathikumaram Bhavaye’ (Rupakam) with Samashti Charanam. Her rendition of ‘Tholinenu Jesina Pooja Phala’ (Tyagaraja- Kokiladhwani) was rich in manodharma.

Prema concluded her well-attended two-hour concert with Ariyakudi Ramanuja Iyengar’s thillana in Bilahari, preceded by a Thirumangai Azhwar Pasuram in Dhanyasi and Sahana. Overall her concert conveyed depth of musical expression.

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Printable version | Jan 27, 2020 9:47:17 PM |

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