Ragas in their charming faces


Revathy Krishna's recital was a harmony of veena values and her own pursuits in that direction.

If veena music in general draws poor audience it is because the instrument has a unique inherent refinement of sound that contributes to the nuances hidden behind the notes. As Shakespeare said, "For some, their very graces serve them but as enemies," the very subtlety of veena music is its own enemy. Revathy Krishna achieved the exposure of the charming faces of ragas and songs mainly through the melody of the meettu. She could mould the sancharas with subtlety on the frets without sacrificing the vibrancy of creativity. Her concert for the 50-50 club was a harmony of veena values and her own pursuits in that direction.

Lyrical alapana

"Gajavadana" in Sriranjani with a brief but tellingly lyrical alapana, was an indication to the rasikas of what was to come. Endowed with a gift of ready and felicitous expressiveness, the ebb and flow of the Aarabhi Pancharatnam "Saadinchine" rendered with lilting kalpanaswara, brought out the grandeur built into the piece. In the whole recital this item can be said to be the diadem.Two raga alapanas, those of Gowrimanohari and Vachaspati with tanam, formed a substantial part of the concert. In the former, the sancharas wound their way in free-flowing movements. The raga picture and the shape she gave to it were placed with great vividness. The song was "Guruleka."With proper guidance of sound sensitivity, her Vachaspati ("Kanta Joodumi") alapana edifice of depth and tenderness highlighted the beauteous niches of the raga. What was left in the vinayasa was completed in the tanam. Neyveli Skanda Subramaniam (mridangam) provided competent accompaniment, but could have muffled the beats to go well with veena's sweetness. Tiruchi Murali was the ghatam artiste. S. Manikantan (keyboard) came on the scene for the semi-classical tukkadas towards the end.