Sumitra Vasudev began her afternoon concert with ‘Ninne Kori’ varnam in Mohanam – not the popular ‘Ninnukori’ – and followed up with Muthuswami Dikshitar’s ‘Srividya Rajagopalam’ in Jaganmohini. The timbre of her voice suited the upper octaves of this kriti. The alapanas of Kedaragowla as well as the main Bhairavi proved her mettle as an artist with a strong classical foundation, and the sancharas were effective without being flighty.
The essay of Kedaragowla by violinist S.R. Rajashree was a bit too long; it would have been better if she had avoided playing some parts in staccato. The chosen song was Thyagaraja’s ‘Venuganaloluni’ with creditable niraval and swarams for ‘Vikasitapankaja’.
‘Karunai thandennai’ in Begada was an interesting interlude with its alternating madhyamakala passages. Sumitra took her time developing Bhairavi, touching the majestic raga’s essential nuances. Rajashree’s effort was passable.
Dikshitar’s ‘Balagopala’ was rendered in a proper tempo suffixed by a soulful niraval at ‘Neelaneeradasareera’; interesting swara patterns followed. B. Sivaraman (mridangam) and Trivandrum Rajagopal (ganjira) provided support and also rendered a short but lively thani.
The Tamil virutham in ragamalika comprising Saveri, Sahana, Ahiri and Madhyamavati was sung seamlessly; and the concert closed with ‘Adaikkalam Adaikkalam’ in Madhyamavathi.
The Hindu
Sumithra Vasudev File photo
No comments:
Post a Comment