Poised with elegance

August 12, 2011 12:00 am | Updated 04:07 am IST

REVIEW Concerts by two women in Mysore were imaginative and meaningful

V idya Subramanian sang under the auspices of Shri Krishna Gana Sabha, Mysore, accompanied by Adhiti Krishnaprakash (violin), P.S. Shridhar (mridanga) and S. Manjunath (ghata). The young singer's authoritative progressions deserved appreciations and the confidently propelled articulations attracted the audience.

Nevertheless, the singer's scholarship appeared to dominate the hall in place of an ideal approach that would render the selections divinely pleasing (in view of the composer's expectations) and grand. Where as she was clear in reciting the lyrics and aware of their general imports (observe her introduction to most of the numbers), she could not cream off the sentimental aspects nested in those texts.

Scholarly alapana in Kalyani (“Ethavunara” -Thyagaraja) featured imaginative improvisations. Meaningful neraval at “Shrikarudagu” and energetic kalpanaswaras beautified the composition, reciprocated by the melody accompanist (Adhiti, with due care could have avoided frequent screeches). Thani avarthana shone with attractive intricacies though one wished the beats were gentle and melodious.

“Paripahimam” (Kannada —Vasudevacharya), Saptha-raga-tala-maalika (Lalgudi Jayaraman), “Na Jeevaadhaara” (Bilahari — Thyagaraja) and “Himachala Thanaya” (Anandabhairavi — Shyama Shastri) were some of the other interesting highlights.


Geetha Putti sang under the aegis of Shri Thyagaraja Sangeetha Sabha accompanied by M.A. Jyothi (violin) and P. Nataraj (mridanga).

The singer's voice is pleasing, and the general approach is in furtherance of true spirit of classical music – submission and devotion. The artiste ideally served as a means to carry the lofty ideals of music to the audience rather than using art as a tool to project her scholarship. Geetha had planned her concert meticulously, leaving no space for any laxity. Gentleness in treating the ragas and in expanding the lyrics, appropriately complemented by refined extempore, rendered her presentations impressive infused with relevant moods.

She commenced her concert with varna, “Sami Ninne Kori” (Shriraga-Karur Devudu Iyer), later moving on to “Gajavadhana Karunasadhana” (Shriranjani — Papanasam Sivan), Shri Shankara Guruvaram (Nagaswaravali – Maha Vaidyanatha Iyer) and “Ekamresha Naayike Shive” (Shudhasaveri — Dikshithar).

As a tenable testimony to favourable observations, stood all the presentations that followed: “Amma Raavamma” (Kalyani - Thyagaraja), “Bagayenayya” (Chandrajyothi - Thyagaraja), “Karuninchi Nannu”(Navarasakannada - Vasudevacharya), “Ramakatha Sudharasa” (Madhyamavati - Thyagaraja) incorporating appropriate beautifications in right places.

Alapana in Kalyani featured analytical exposition encompassing the desired three sthayi-s, which she spanned melodiously with appreciable felicity. She expanded “Amma Raavamma” at “Thamarasadala Nethru” ( charana ), and the mood that she created here continued onto the swarakalpana section, which she framed in different speeds never digressing from the general import and mood of the composition.

Ramakatha being the focus, the elaborations were more extensive. Tani avarthana was pleasant with crisp beats. Violinist's scholarly imagination and propriety commanded appreciations though the notes fell short of the expected sharpness or resonance.

“Enu Baredeyo Brahma” (Ragamalika – Purandaradasa) and tillana concluded the concert.

V. Nagaraj

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