In a two-hour concert, the repertoire plays a vital role in keeping the tempo at a uniform level. This can be easily achieved by singing more kirtanas than elaborate raga alapanas. But an opinion has gained ground that longer the alapana of particularly an unfamiliar raga, it proclaims vidwat.
Vijayalakshmi Subramaniam in her concert for Sri Thyaga Brahma Gana Sabha, revealed her class in the two items ‘Sogasuga Mridanga Taalamu’ (Sriranjani) and ‘Koluva Maregada’ (Thodi). She made sure that each sanchara in the raga elaboration had a purpose. Two valuable aspects marked her alapana technique – eschewing rhetoric and observing vocal restraint.
Substance and styleFine vocal balance without too much exuberance, and consistent sanchara pacing, spoke of her flair and discipline. These aspects formed the basis of her exposition – substance and style. The concert therefore remained full of poise sans glitter, loudness of applause not dictating her music’s quality.
In the rendering of ‘Sogosuga,’ there was an easy grace. There was fluency in presenting the sangatis. The other kirtana too was packed with sangatis. The latter demands exactitude and meticulous accuracy. Vijayalakshmi exposed the lyrical beauty of the Sriranjani piece and the grandeur of the Thodi item with elegance.
It must, however, be admitted that the over-elaboration of the Hamirkalyani raga and the slow movement of the kirtana ‘Parimala Ranganaatham,’ immediately after the Sriranjani song brought about a drop in the tempo of the performance.
H. R. Gopinath on the violin, in his solo session, played in tune with the musical approach of the vocalist. In the Thodi alapana in particular he conveyed the essentials of the raga in gentle tones.
Madirimangalam Swaminathan (mridangam) and Purushothaman (ganjira) played to the comfort of Vijayalakshmi.
