Scintillating performance
HAREESH BAL
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Sangita Sivakumar impressed rasikas in Ernakulam.
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Sangita Sivakumar has a full-throated voice, a racy style characterised by alapanas.
RACY TEMPO: Sangita Sivakumar.
Apart from the creativity and `adventure' factor in their music, the practitioners of the GNB-MLV school, are known for their specialised renditions of Thyagaraja kritis. Like the other women practitioners of this school, namely, MLV, Sudha Ragunathan and Charumathi Ramachandran, the youngest in this group Sangita Sivakumar too has a full-throated voice, a racy style characterised by alapanas. Her style shows no influence of her musician husband, T.M. Krishna .
In her concert for Poornathrayeesa Sangeeta Sabha, `Maye... ' a Sanskrit Daruvarnam in Kamas with the fast- paced jathis, and the jathis of the Begada piece `Vallabha nayakasya... ' seemed to strike a chord with the audience. The less often used `pa dha needha pa' phrases in the swaraprasthara had a scintillating effect in contrast to the `pa dha pa sa.' `Vinathasuthavahanasree ramana... ' in the rare raga Jayanthasena added to the depth of the succeeding pieces. A vigorous rendition of Devamanohari kept the audience musing, and guessing the kriti. `Evarikkai Avatharamethithivo... ' was followed by `Ramanannubrovara... ' in Harikamboji.
No wrong notes
A delectable neraval of `Meppulakai Kanathavu... ' saw the vocalist gliding flexibly along the scales, and intricate points never touching a wrong note. Chennai V. L. Kumar ably complemented this on the violin. The round sonorous timbre of his instrument blended amazingly with the `veena' bhani of the vocalist. Speed is mostly a charmer and at times a hindrance with this school. This feature stood out in `Devi Brova Samayamithe... ' Shyama Shastri's popular kriti in Chintamani raga.
`Vararagalaya... ' in Chenchukamboji with its `jhanda' chitta swaras left the audience tapping in unison. Even though Todi was the main piece, Sangita did not go for an expansive elaboration. This was followed by Thyagaraja's composition `Kaddanuvariki... '
A lot of planning seems to have gone into the thani of Cherthala Ananthakrishnan (mridangam) and Manjoor Unnikrishnan (ghatom), but as it happens with the `mishra chappu,' the tempo tends to go up and the kalapramana showed variation towards the end. The celebrated javali `Parulanamatta' in Kapi and Kanakadasa's `Baro Krishnayya... ' with their sheer beauty compensated for the lack of other short pieces.
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