Clear music

LYRICAL Manasa Nayana and Gayatri Girish sang with artistic fervour

LYRICAL Manasa Nayana and Gayatri Girish sang with artistic fervour  

Manasa Nayana's music was articulate; Gayatri Girish was fluent as well

Manasa Nayana sang underthe auspices of BharathiSthree Samaja, Mysore, aspart of Ramanavami Celebrations.The young singer createda healthy musicalatmosphere where the listenersfind themselves merged in theimports of the lyrics.

Starting with "Sarasijanabha"(Varna - Atta - Swathy Thirunal/Vadivelu) he built a goodconcert following a tempo fallingbetween vilamba and madhyamakaalas. The importance he gavefor clear accents, and pauses heprovided, rendered the compositionscomprehendible and enjoyable.

Janaki Ramana ("Shudhasimanthini"- Thyagaraja) was onesuch composition, which he sangwith dedication and commitment.Even with a short alapana,he enticed the audience byblending shades characteristicof Malahari and Thodi, reachingperceptible heights. Passages ofimaginatively framed swarakalpanascomplemented the composition,though it appearedprotracted.

In general, the elaborationswere scholarly and methodical,yet, could have been morerefined and proportionate: sancharasin the higher octaves didnot favour the melodic aspects.

The violin accompanist, H.M.Smitha complemented thesinger's endeavours with relevantimpromptu passages. Percussionists,G.S. Ramanujan(mridanga) and Ramesh (ghata)exhibited their competence in apleasing thaniyavarthana.

Other highlights were "BhajareManasa" (Abheri - Vasudevacharya),"Thavadhasoham"(Punnaagavaraali - Thyagaraja)and others.

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Gayathri Girish sang underthe auspices of Shri RamasevaMandali Charitable Trust (Ramanavamiconcerts). C.N.Chandrashekhar (violin), G.S.Ramanujam (mridanga) andV.S. Ramesh (ghata) accompaniedthe artiste.

Resilient voice endowed withsilvery timbre traversed withease in all the required threeoctaves. With an appreciablefluency, and composure rulingthe general approach, her lyricalpresentations stood for theintended meanings and emotiveaspects.

Vilambakaala compositionsspoke more of the artiste'sversatility and expertise. "SamiNinne Nammina" (varna - PatnamSubrahmanya Iyer/ ShatkaalaNarasayya), carrying withit instantly revealing majestyand compactness, at oncemarked the terseness and competencethe artiste inhered.

Nevertheless, instead of taggingswarakalpanas to the varna,which already incorporatedsuch similar strains; she couldhave embellished "SithapathiNa Manasuna" (Khamach-Thyagaraja) with a few suchswara passages for a betterbalance.

She elaborated "Maa Janaki"(Kamboji - Thyagaraja) and"Rama Rama Gunaseema"(Simhendramadhyama -Swathy Thirunal). Of the two,alapana in Kamboji accreditedthe violinist; and Simhendramadhyamareached near-completenessfilled with both theragabhava and the swarabhava,evidencing mainly the singer'smettle.

Lyrics of Swathy Thirunalcame alive when she expandedthe charana at "Munimanasadhama"appending it with swarakalpanas- her manodharma,majestically unfurled into absorbingartistry: rhythm-patternsand swara-phrases ideallyserving the overall mood.

The artistic fervour that theaudience hitherto enjoyed, extendedinto the thani avarthanathat followed. "Yamanalla Rama"(Shivaranjani - Purandaradasa),"Shri Madhava"(Behag-Papanasham Shivan)and "Mudhugaare Yashodha"(Kuranji - Annamacharya) wereother highlights.


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