Lukewarm affair




Experience and exposure make a sharp difference between a good concert and not-so-good-concert. The reflection of this inadequacy could be seen at every stage of the concert - in choice of selection, the sequence, time measure and creative music. Add to this poor sound system, which can ruin any good concert. This in short, was the outcome of the concert on the day. The vocal concert of Srikanth (USA) sponsored by Kalasagaram last week was an example of an amateur artiste.

Srikanth has a pliable voice, which can yield to any command, but the depth and modulation is a serious lapse. It lacks the verve and power and the version pales to triviality. Evidently what Srikanth needs is coverage and know how. He has an excellent concept of sruti gnanam. While it reflects well at higher octaves, it fails to register in the adhra shadja. In terms of manodharma sangitha, the alapana is sketchy and does not follow set norms. The faster sangathis in it are admirable but lack planning. There is certain amount of repetition. The nereval part is tolerably good but the swarakalpana needs a little more creativity.

The concert started well with the ata thala varnam in kamboji. Raga varali was well depicted and the kriti, mamava meenakshi in misra chapu was the right choice. The song carried the bhava well. The kriti, ramachandra in hamsadwani set to rupaka thala has a striking thisra nadai and if it were presented in thisra nadai adi thalam it would have been more meaningful.

Saveri was well explored and the famous kriti of Shyamasastri, dursuga came out with feeling together with a spell of swarakalpana. Most of the time was spent in the item manasuswadhinamai of Thyagaraja in shankarabharanam. There was relaxation in sketching the raga but the fast phrases predominated resulting with obvious imbalance in the facet. The song as well as the nereval part of the item went off very well. Srikanth ended up his concert with some lighter items including a thillana. In short, it was a concert good in part although nothing outstanding.

Pavani Srikanth, wife of Srikanth, accompanied on the violin. What is said of the main artiste applies truly well to the accompanist; the most needed element in her playing is the nada feature. It is poor and lacks depth, although her command on the instrument is good. Every concert needs commanding support if its accompanying artistes if it has to prove successful. In that respect, Pavani's contribution was lacking. D.S.R. Murthy on the mridangam could not do much as the main artiste was on a low key. A mridangam artiste always needs challenge in a concert if he has to come out in his colours. By himself Murthy is a renowned artiste but in the concert he lacked right atmosphere and adequate opportunity.

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