The Chinmaya Sisters presented a level-headed account of themselves and entertained the rasikas with a cascading style that was laden with brigas. Brisk sarva laghu swaras in higher speeds were one of the underlying concepts.
‘Vinayaka Ninnuvina' (Hamsadhwani, Veena Kuppier), ‘Brova Samayamide' (Gowrimanohari, Karur Dakshinamurthy) and ‘Dasarathi' (Thodi, Tyagaraja) were all suffixed with sarva laghu swaras.
In the early part, the sisters sang ‘Ardanareeswaram' of Dikshitar (Kumudakriya). Elaborate raga alapana was somewhat neutralised by too many curly sangatis in the pallavi and anupallavi, not all of which enhanced the song. One felt the melody could have been more in the Gowrimanohari raga alapana. Phrases were delivered with unknown urgency!
The raga alapana of Thodi had attractive phrases and the graha bedam attempt of Mohanam sailed smoothly. Good use of the voice in the lower registers added to the beauty. Niraval at ‘Bodinchina Tyagararchita' was essayed pleasingly in the first speed. The swara korvais had the desired effect of bringing the audience to their seats.
Melakkaveri Thyagarajan played a classy Thodi alapana. Nellai Balaji (mridangam) was adequate. A little more of the reflective mood and tempo variations would add salience to the sisters' talents.
VASUDHA RAVI 's concert was marked by vibrancy and skill. Aided by a resonant but well modulated voice, cheerful songs and good teamwork, Vasudha crafted a forceful concert admirably following key concert principles.
Good musical values were to be found in the delineation of Vachaspati ragam (‘Pahi Jagath Janani,' Swati Tirunal), niraval nuances at ‘Mohana Karadri,' lively renditions of ‘Rakta Ganapatim' (Mohanam, Dikshitar) and ‘Ramabi Rama' (Durbar, Tyagaraja). At one stage when the power failed for a couple of minutes in the middle of the Vachaspati alapana, Vasudha continued her flights and could reach the rasika in the last row. It was not just the volume; it was clarity and good tonality as well. This was preceded by ‘Mamavathu Saraswathi' (Hindolam, Mysore Vasudevachar). A flat raga alapana (both by the vocalist and the violinist) more than made up for the striking interpretation of the song. This song starts at the upper shadjam and thus lends to a bright mood. The swaraprastaras in Vachaspati were simple but interesting. Violin accompaniment of Roopa Natesan largely complemented the vocalist and mridangam player Ramanarayanan lent vitality to a quality concert.
Published - December 14, 2010 09:08 pm IST
