FRIDAY REVIEW

In a zone of excellence

aesthetic in approach S. Sowmya

aesthetic in approach S. Sowmya  

SVK

Sowmya’s display of erudition was profound.



Sowmya’s kutcheri for Carnatica in association with Sri Parthasarathy Swamy Sabha, exemplified to the hilt the guru-sishya learning process, acquired by her constant nearness, watching her guru.

She was greatly helped by her natural crystal stream of pure akara, both deep and delicate.

Characteristically this vocal gift enabled her to sweep clean the tarasthayi durita kaala sancharas with élan.

Which one in this respect could be identified as top class — Bhairavi or Kalyani? Both hit the sparkling zone of excellence, were full of exquisiteness and dedicated to the sacredness of Carnatic music’s claim.

Of course, perception of beauty in music is a controversial concept coloured by the rasikas’ preferred taste, but controlled exposition, as that of Sowmya on that day, touched creative peaks which drew appreciation even from stoic listeners.

Dazzling sancharas

Sowmya’s Bhairavi alapana (‘Upacharamu Chesevaru’) was a study in composed musicality. What the ears received was a clutch of dazzling sancharas intensively detailed, and a delightful mix of direction and accuracy.

It was an inspired alapana that was carried beyond pedestrian limits. The rendering of the kirtanas encompassed all aspects of its structure and simplicity.

The Kalyani (‘Nidhi Chala Sukama’) was pleasantly designed and excellently delivered to be enjoyed as a champagne treat. The precision and variations of sancharas in the tara stayi were dynamic. The picturisation of the raga spoke of her instinctive and aesthetic basis of her technique. Voice control and nuances enhanced its impact.

In elevating the concert, the accompanying violinist R.K. Sriramkumar and mridangam player Neyveli Narayanan looked like partners in excellence.

Without being overly erudite Sriramkumar’s style was rich in refinement and fluency and brought brightness to every phrase.

Narayanan had the vision to provide the kind of percussive support befitting a concert of a high order.



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