Wholesome melody

Sangeetha Sivakumar. Photo: R. Shivaji Rao

Sangeetha Sivakumar. Photo: R. Shivaji Rao   | Photo Credit: R. Shivaji Rao

Sangeetha Sivakumar's vocal recital in Palakkad was a fine display of her musical acumen and her skill in rendering manodharma.

Listening to vocalist Sangeetha Sivakumar at The Palghat Fine Arts Society Auditorium at Tharekkad, was a rewarding experience. The concert stood out for its classical flavour and aesthetic content. A stickler for tradition, Sangeetha held the audience in thrall with her wholesome music. Singing with perfect sruti suddha and keen bhava, she offered a rich fare. Hemalatha's splendid violin accompaniment enhanced the appeal of the concert.

Absorbing niraval

Opening with Thiruvottiyur Thyagayya's varnam ‘Entho prematho' in Suruti, Sangeetha moved on to the Tyagaraja kriti ‘Vidulaku' in Mayamalavagowla. The raga bhava emerged beautifully in the absorbing niraval at the charanam ‘Kamala Gowri Vageeswari' and the succeeding swarakalpana. After a neat rendition of ‘Gopanandana,' a composition by Swati Tirunal in Bhushavali, Sangeetha took up Reethigowla. She delved deep into the lakshanas of this enchanting raga, in her elaborate delineation. Laced with imaginative sangathis, the raga sparkled in its multifaceted hues. Choosing Swathi Tirunal's famous piece ‘Paripaalayamaam,' she came out with an elongated string of well-designed swaraprastharas at the charanam ‘Taamasa saayata lochana.' Particulary appealing was the prayoga ni sa ga ri sa.

It was refreshing to listen to the chowka kaala kriti ‘Kalai thookki ninraadum,' a favourite of dancers, composed by Maarimutha Pillai in Yadukulakamboji. The brisk ‘Vararaagalaya' (Chenchukamboji-Tyagaraja), with the swift chittaswaram, brought back pleasant memories of the concerts of GNB.

The alapana of Kalyani, the main raga of the evening, was reflective of Sangeetha's command over the core aspects of classicism. She created a vivid picture of this major raga, adorned with subtle akaras and gamakas. The kriti was Tyagaraja's ‘Nidhi chaala sukhama' in Misra chaapu tala. The lucid niraval at ‘Mamata Bhandanayuta,' rendered skilfully in two speeds and followed by vivacious swara patterns, unfolded the vocalist's musical acumen and skill at manodharma.

‘Parulanna maata,' Dharmapuri Subbaraya Iyer's popular jaavali in Hindola Kapi, was a welcome choice. Sangeetha's soulful presentation of ‘Varugalaamo' of Gopalakrishna Bharathi in Maanji kindled deep emotions. Sadasiva Brahmendra's ‘Bruhimukundethi' in Kurinji was alluring. She concluded with Dikshitar's kriti on Rama, ‘Maamava Pattabhirama' in Manirangu.

Violinist Hemalatha displayed her expertise and skill in handling the instrument with her excellent tonal clarity and sweet melody. Her essays of Reethigowla and Kalyani were top class. B. Sivaraman provided adequate support on the mridangam. Young Neethul Aravind (ganjira) showed promise. Their tani, though brief, was enjoyable.

The concert was held under the auspices of the Palghat Fine Arts Society.

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Printable version | Jun 4, 2020 6:01:36 PM |

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