Bharat Kalachar Music

Pleasing and peaceful

Swarna Rethas. Photo: R. Ravindran

Swarna Rethas. Photo: R. Ravindran   | Photo Credit: R RAVINDRAN

The evening’s music was free of fireworks and frills. As Rashmi Y.G. Parthasarathi observed in her comments, Swarna Rethas’ vocal recital had a pleasing and peaceful feel about it. His violin accompanist, B. Ananthakrishnan, was quite outstanding, missing no opportunity to pronounce his prowess.

A student of Sanjay Subrahmanyan, Rethas opened with the well known varnam, in Saveri , Adi talam. He sang the composition both in slow and medium tempos, just enough to show variation.

One may quibble that the evening had a little more of the 28th melakartha than necessary. One may also have paused to consider the distinctive character of two scales that result from the addition or omission of a single note.

The song in Harikambhoji that followed was supplemented by Kambhoji, one of its derivative ragas. 'Yenadu Manam Kavalaiyenum’, the Papanasam Sivan kriti, in the parent scale, was beautifully delivered.

The recital was also noteworthy for the excellent improvisations on the pallavi. The preceding Sivan song and Tyagaraja’s 'Yevarikai Avataramettitivo Raamaa' in Devamanohari are a case in point.

The Khambodi alapana was probably the third instance of the evening when the violinist made an impression with his masterful solo essays. Rethas followed that with Muthu Thandavar’s 'Aru Marundoru Tani.’ Listeners would recall that this piece in Rupaka talam is a favourite of Sanjay Subrahmanyan. The disciple did full justice in the niraval.

When asked if he had a change of heart after that vigorous exposition of Hamsaanandi, Rethas was emphatic that singing an RTP was never on his agenda. 'Pahi Jagadjanani Paahimaam,' of Swathi Thirunal and its swarakalpana conveyed an ample measure of melody and nostalgia.

Ambur Padmanabhan’s mridangam solo that followed, received equal praise from the lead artists as well as the audience.

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Printable version | May 31, 2020 6:23:38 AM |

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