Music

Fine rendition

RAGA DELINEATION Srisoumya Varanasi

RAGA DELINEATION Srisoumya Varanasi  

Srisoumya Varanasi is one of the promising young talents with all the inborn gifts — mellifluous voice, sense of beauty and stage presence. She has already recorded her significance in the mainstream Carnatic concert circles, over radio and a stint as playback singer of Telugu cinema. ‘Tarang’ a non-profit forum solely dedicated to the promotion of ‘young jewels of Indian classical music’ featured her recently. Indeed her concert held at Sunshine Hospitals, proved she is equal to expectations.

Srisoumya is under the tutelage of Neeta Chandrasekhar and was occasionally taught by Vijayawada brothers Sriram Prasad and Ravikumar. On this occasion she was accompanied by O.Rajasekhar (violin), Ramakrishna (mridangam and Srikanth (kanjira). She was conscious of giving the flavour of each raga. She opened with Vatapi a prayer to Vinayaka which was particularly marked by interesting swarakalpana. She preceded this Deekshitar number with a slokam too. Then she went on to render Anandamritakarshini in Amruthavarshini by Dikshitar, perhaps hoping for some rainfall. Yemani Pogadudura a rare Veeravasantham of Thyagaraja, followed. There appeared here a little more serious number both in text and display of technicalities — Durmargachara Adhamulanu in Ranjani set to Rupaka talam also of Tyagaraja — appeal of which got further elevated by fine swaraprasthara.

After Paridaanamichite in Bilahari, Khandachapu talam of Patnam, Srisoumya chose Sahana as her first raga effort of the concert. She displayed her vocal span in this number taking time for raga expansion. The choice kriti Ee vasudha neevanti of Thyagaraja was indeed a pleasure to feel that devotional spirit and melody was carried through the swarakalpana that followed. She appeared to have spent almost half an hour for the number. Later there was vilambakala kirtana of Thyagaraja Mokshamugalada in Saramati, Adi talam, followed by the evening’s major show piece Palu vicharamulela in Shanmukhapriya ragam, Khanda chapu talam.

Charming Shanmukhapriya

It was a kirtana of Annamacharya that she gave prominence to as main number. Indeed Shanmukhapriya has all the charm to entertain, yet when comes to sahitya Annamacharya too left his indelible mark and the way Srisowmya rendered the nereval at the line Merato Srivenkateswarulu ninnu pilichitini was good enough to enjoy. The swarakalpana was again a pleasant experience. Rajasekhar’s violin support also went a long way in adding lustre to the ragas and sahitya. Ramakrishna on mridangam and Srinkanth on kanjira offered at this stage the tani avartanam.

Saaramaina maatalentho Swathi tirunal’s jawali in Behag – Rupakam, Kannava manivannava in Madhuvanti, Ramadasu kirtana and Krishna nee Begane’ in Yaman kalyan were indeed used to bring down to smooth halt preparing ground for vigorous Lalgudi Tillana in Mand. The two hours and a half hour long concert was a platform for Srisoumya.

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Printable version | May 26, 2020 2:31:28 AM | https://www.thehindu.com/features/friday-review/music/fine-rendition/article3631261.ece

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