Kartik Fine Arts Music

Some old, some new

Sangeetha Swaminathan performing at Bharatiya Vidya Bhavan Mini Hall   | Photo Credit: M_Karunakaran

Sangeetha Swaminathan’s concert was a mix of the old and the new. Her line-up had conventional ragas and time-tested compositions as well as an RTP in the Hindustani raga Chandrakauns.

With Kalyani and Chandrakauns being the only two ragas that were dealt with in detail, almost all the numbers had brisk swaras either as chittaiswaram or kalpanaswaras. Sangeetha belongs to the GNB-MLV school and having trained under Sudha Raghunathan, a torchbearer of the bani, the characteristic glides and brigas were present in abundance.

The concert that had a sedate start with Tyagaraja’s ‘Thera theeyagarada’ in Gowlipantu was later peppered with racy kalpanaswaras.

Following it up with ‘Thaye Tripurasundari’ in Suddha Saveri, she presented this composition of Periasami Thooran with the chittaiswaram and niraval and kalpanaswaras in the lines beginning with ‘Kamadhenu vanangum.’ The niraval had many shades of the raga’s Hindustani counterpart Durga. Interesting patterns in Khanda Chapu added charm.

Flair for brigas

An elaborate Kalyani raga alapana was marked by long karvais and akara phrases. The raga essay was placidly developed. Using her flair for brigas, Sangeetha traversed across octaves effortlessly. But the excessive dattu prayogam distracted the flow. A more relaxed approach would have lent an appealing prelude to Tyagaraja’s ‘Sandehamu yalara.’ Violinist Raghul’s version of Kalyani had creative flashes in tune with the vocalist’s rendition. The engaging session of niraval and kalpanaswaras was a delight.

Yadukulakhambodi composition of GNB, ‘Paramakripa sagari’ was rendered with the raga’s delicacy intact.

An extensive raga alapana of Chandrakauns was breezy. She rendered the tanam with the percussive accompaniment. The pallavi ‘Kamalasani Sundari Chandravadani Karunarasa Vilochani’ was set in Khanda Triputa. The trikalam exercises had some beautiful patterns. The ragamalika swaras in Chandrajyoti, Sriranjani and Kalavathi were melodious and refreshing.

Akshay Ananthapadmanabhan on the mridangam contributed immensely. He let the brigas, which the vocalist is good at, be heard clearly. The exchanges between him and Adambakkam Shankar on the ghatam during their solo session were engrossing.

Sangeetha signed off with ‘Visweswara darsan’ (Swati Tirunal) in Sindhu Bhairavi and a Thiruppugazh, ‘Niraimadi mukhamenum,’ in Ranjani.

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Printable version | Jun 11, 2021 12:02:42 AM | https://www.thehindu.com/entertainment/music/sangeetha-swaminathans-concert-review/article22464196.ece

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