Rich array of songs on the veena by Nithyasree

Nithyasree veena concert at Chennai Fine Arts

Nithyasree veena concert at Chennai Fine Arts   | Photo Credit: The Hindu


Nithyasree brought out the various facets of Kiravani in her RTP

It is good to see many instrumental kutcheris featured at the City’s sabhas this season. Chennai Fine Arts at Srinivasa Sastri Hall at Mylapore, featured Dr. Nithyasree’s veena recital in the afternoon. A doctorate in music, Nithyasree is a student of Kalyani Ganesan and is being guided by Chitravina Ganesh. Nithayasree’s selection of ragas was impressive so was the array of compositions — Sriranjani, Sahana, Ritigowla, Purvikalyani, Kuntalavaralai, Kiravani, Behag and Nadanamakriya. All these ragas are high on melody and suit the veena.

Nithyasree chose Kiravani for her RTP. The raga treatise conveyed the special charm of Kiravani and the tanam that followed was quite gentle. One cannot but feel that it could have been a bit more dynamic as tanam is the major attraction of veena. The pallavi set in Adi tala was ‘Eswari maheswari parameswari ennai aadari’. After the pallavi, Nithyasree played it in gana ragas such as Nattai, Gowla, Arabi, Varali and Sri to project the flexibility of the lyrics to suit any raga. After the niraval and the mandatory trikalam, the swaraprasthara in Kiravani was a bit controlled.

Nithyasree dealt with Purvikalyani raga essay for ‘Jnanamosaga rada’ of Tyagaraja. Her niraval and swaras on ‘Paramathmudu’ were brisk.

The other notable pieces were ‘Brocheva revare’ in Sriranjani (Tyagaraja), ‘Vandanamu’ in Sahana (Tyagaraja), ‘Bogindrasayeenam’ in Kuntalavarali (Swati Tirunal), ‘Muruganin maru peyar’ in Behag (Guru Surajananda) and ‘Navagraha vanor’ in Nadanamakriya (P.N. Muralidharan).

Thillaisthanam Suryanaryanan on the mridangam and Nanganallur Swaminathan on the ghatam supported the vainika with care. They also added an expressive ‘thani’ appropriate to the duration of the concert.

Nithyasree sang the pallavi in her RTP which helped gather the necessary inforamtion about the composition. Her veena playing carries ‘gamakam’ as well as vinayam’ (humility). Yet, it is not a bad idea that she gives more ‘gambiram’ (majesty) to raga expositions and swaraprastharas.


In the review, ‘Need to pack more energy’ (FR, January 3), the song Bhavya Hari rendered was ‘Mathangi’ of Muthuswami Dikshitar in raga Ramamanohari and not ‘Korina Varamu.’ The error is regretted.

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Printable version | Jan 27, 2020 3:46:20 AM |

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