MES Kalavedi, Bangalore, recently hosted a vocal recital by Dr. Dwaram V.J. Lakshmi, accompanied by Prema Vivek (violin), Ranjani Venkatesh (mridanga), and Bhagyalakshmi M. Krishna (morsing).
Muthuswami Dikshithar's “Vathapi Ganapathim” in Hamsadhawani raga and aditala, the first item, was remarkable for clarity in articulation of sahitya, and the modicum of kalpana swaras affixed to “Hamsadhwani Bhushitha Herambam”, which occurs halfway through the tala span. Thyagaraja's “Brova Barama” in Bahudhari raga and aditala was also supplemented with a few fluent kalpana swaras. “Aazhimazhai Kanna” in Varali led to a fairly detailed exploration of Behag, with several phrases around the gandhara, panchama, and nishada before ascending to the thara sthayi. Annamacharya's “Narayana The Namo Namo”, again remarkable for clarity in pronunciation, was adorned with a few rounds of melodious kalpana swaras.
The main raga of the evening, Kalyani, was taken up for a systematic and exhaustive alapana, with halts at the all the crucial junctures. While the sancharas were spontaneous and traversed the three octaves right up to the tara sthayi panchama, more lucidity and definition in a few would have enhanced the impact. The ensuing krithi, Shyama Shastri's “Himadrisuthe Pahimam” in rupaka tala, was a fine choice, though neraval at “Shyamakrishna Sodari” could have incorporated a more meticulous and thorough exploration of melodic and rhythmic possibilities. The kalpana swaras featured some intricate permutations with diminishing tala cycles at the thara shadja, and culminated in a thani avarthana. Smooth and prompt violin accompaniment and expert percussion support were highlights of the concert.
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A flute recital by M.K. Pranesh, accompanied by N.N. Ganesh Kumar (violin), M.T. Rajakesari (mridanga), and M.A. Krishnamurthy (ghata) was organised jointly by Ananya and Amrutavarshini.
The concert began with an aditala varna in Malayamarutham, and “Ganapathe Mahamathe”, the Deekshithar krithi in Kalyani raga and rupaka tala, played in a bracing tempo and adorned with kalpana swaras.
A vivid contrast was provided with a short sketch of Dhanyasi and Bhadrachala Ramadas's “Rama Dayajudave”, replete with the tender nuances of the raga, and an effervescent “Kanukontini” in Bilahari, with kalpana swaras in the second speed.
Varali was elaborated in a series of swift sancharas that were soaked in ragabhava and ran the entire gamut of the scale. The plaintive import of the composition was manifest in the rendition of Thyagaraja's “Eti Janmamidi” in mishra chapu thala, enriched with a neraval and kalpana swaras in two speeds that ended with a stint around the thara sthayi shadja. Purandaradasa's “Sripathi” in Mukhari raga and khanda chapu thala was followed by the main focus of the concert, a raga tana pallavi in Shankarabharanam.
The alapana, infused with soft tonal quality and mellow sweetness, proceeded systematically from the depths of the mandra sthayi, with elongated pauses at the madhya sthayi panchama and thara shadja, illumining multiple shades of the raga. A brisk thana preceded the pallavi set to aditala.
Outstanding support from the violinist and percussionists, complementing the technical and aesthetic acumen of the lead artiste, contributed significantly to the success of the concert as a whole.
