Friday Review

Bhava carries the day for Girija Seshamamba

Girija Seshamamba.

Girija Seshamamba.  


Girija Seshamamba’s concert was marked by detailed swarakalpana and clarity in sahitya.

Girija Seshamamba is a highly talented vocalist, trained under the tutelage of Nookala Chinna Satyanarayana and Tadepalli Sitamahalakshmi and the legendary Parupalli Ramakrishnayya Panthulu. Armed with a doctorate from Tirupati Mahila University, she takes music to prisoners in jails and teaches them national and other songs now and then. Her concert for Sangeetha Ksheerasagaram was held at mini theatre of Thyagaraya ganasabha, last week.

Girija is blessed with a sweet voice with good range and clear sahitya expression,. She was a bit animated too, in keeping with the bhava of the composition. She opened with Daruvarnam Mathe Malayadwaja of Muthiah Bhagavatar in Khamas, presenting it in two speeds. It went well through the sahitya set to muktayi swaram and some rhythmic syllables.

She then chose to present the raga Bahudari for the kriti Bhajamanasa Vighneswaramanisam by Tulasivanam. The prayer to Vinayaka had a brief raga essay that carried devotional element with clarity of expression. She presented the swarakalpana in two speeds taking the line Varadam Jana Saranam. She then presented Thyagaraja kirtana Yeti Yochanalu in rare Kiranavali ragam with clarity of sahitya and a swarakalpana in two speeds taking pallavi line.

Girija then went for Dikshitar’s Navagraha kirtana Budhamasrayam’ in Natakuranji set in Misrajhampe talam and followed it with an extensive alapana of raga Poorvikalyani for Ananada Nata Maduvartillai of Neelakantham Sivan. The raga delineation was extensive touching some of beautiful phrases that elevated its appeal. The kirtana rendition too was vivid in expression and was further enriched with neraval, presenting the line Padimadi Jyothi Palir Palir Yenna in two speeds with clear sahitya. The swarakalpana that followed was also in tune . This was treated as sub-main number that took nearly half an hour for its presentation.

Girija went for the breezy number Palaya Sada Madhava of Swati Tirunal in Nalinakanti as a platform to launch major piece of the concert Ragam-Tanam-Pallavi in Bhairavi. After presenting ragam and tanam impressively with fine structures, she presented pallavi creating a line that ran as Pavani Paripurani Ratnabhushani Manonmani set in Khanda Triputa Talam. She presented raga and rendered pallavi in Anuloma and Viloma structures. She presented swarakalpana in ragamalika of Mohana, Saranga, Abhogi, Saveri, Sankarabharanam and Sreeranjani and back to Bhairavi. This was the longest number of the concert that was well received by sizable audience.

The show concluded with Purandaradasa’s Devaranamam in Brindavana Saranga. Over all Girija Seshamamba’s presence and her concert looked off beat and savvy.

The support given by Ananthakrishna on violin and Balasubrahamnyam on mridangam lent apt support, elevated the concert.

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Printable version | Dec 9, 2019 8:26:08 AM |

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