Judicious choice of kritis

Saashwathi Prabhu

Saashwathi Prabhu  


Saashwathi Prabhu gave an unhurried presentation without impairing the swarupa of the ragas.

The success of a concert by a young artist rests on the choice of the kirtanas, the purity of their patanthara and the quality of training received. In the performance of Saashwathi Prabhu for the TTD Centre, these three factors were very much in evidence. On these solid pillars of foundation the progress in her career is dependent on how much time she can provide for rigorous sadhakam reconciling with the demands of her working life.

In the initial stages of concert experience, she could justifiably feel fulfilment, for she revealed sufficient attitudinal balance. She kept at a distance the prevailing singing technique of speed-ridden flow of sancharas in alapanas and thrustful sangatis in kirtanas. The kutcheri framework was directed by a mind far away from clichés.

Two ragas, Mohanam (‘Evarura Ninnu Vina’) and Kiravani (‘Kaligiyunte Gada’) in her effort were focussed on the proper guidelines imparted to be in her learning years. It was encouraging to see how she had understood that the ability to learn and improve counted as much as talent. The emphasis on the fundamentals was the striking feature.

Noteworthy expression

The development of the vinyasas, stage by stage, and the sequential passages were unhurriedly presented without impairing the swarupa of the ragas. The classical simplicity and directness of expression without superficial ornamentation was noteworthy. The impact should have been more wholesome if she had thought it fit to be open-throated.

Much of her time was taken by the two items dealt with in great elaboration. In the rendering of the kirtanas, Saashwathi conveyed correctly their core. It was not like singing kritis learnt. They emerged out of profound regard for patantara suddham and organic discipline without taking liberties with interpretation.

They also sang ‘Ganamoorthe’ (Ganamurthi) and ‘Ninnu Cheppa Karanam’ (Mandari)

Violin support by Akkarai Swarnalatha was in the same mode as that of the vocalist. In her solo versions with a few deft phrasings she embedded the raga alapanas with perceptive musical impulses. Mridangam accompanist, Delhi Sriram, was energetic, but gentle beats would have chimed well with the vocalist’s approach. The thani with the ghatam artist, Chandrasekhara Sharma, was vivifying.

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