Melodious confluence
LALITHAA KRISHNAN
|
Singing together for the first time, Suguna Varadachari and Suguna Purushottaman provided a rich aural treat.
|
ENJOYING THEMSELVES: Suguna Purushottaman (left) and Suguna Varadhachari. Photo: Shaju John.
The confluence of two rivers is marked by a swirl of eddying energies before the waters find their level to flow as one into the welcoming ocean. So too, the vocal styles of two vidushis — Suguna Purushottaman and Suguna Varadachari, singing in tandem for the first time, blended harmoniously to provide an enriching aural treat for the audience at Hamsadhwani.
The seldom heard ``Entaniney telupuduraa" in Khamas provided a brisk start. Melody-coated kalpanaswaras with spontaneous permutations stayed true to the spirit of the Tyagaraja krithi "Manasu nilpa" in Abhogi (Adi), the duo effectively communicating their obvious enjoyment in their singing.
Succinct sketch
Suguna Varadachari's succinct sketch of Anandabhairavi, replete with essential features, brought the raga to life, the mood sustained in Syama Shastri's "O Jagadamba" rooted in solid patanthara. The accelerated pace of Tyagaraja's ``Gatti gaananu" in Begada offered a welcome change in kalapramana.
Ramapriya, well-begun by Suguna Varadachari and traversing the lower and middle octaves was carried forward by Suguna Purushottaman to the middle and upper registers, and concluded by the former. Their adept handling kept the raga well within grammatical parameters with the wisdom born of experience. They journeyed unhurried through Suguna Purushottaman's composition, "Rama nama." The neraval at Raghava ravikula was rich in emotive content that spoke highly of the considerable expertise of both artistes in this department. "Sri Viswanatham bhajeham," Muthuswami Dikshitar's Chaturdasa Ragamalika, was an interesting offering, off the beaten track.
The main raga Todi, ever the artiste's ally and the connoisseur's delight, lent itself readily to the artistes' relaxed exposition that carried weight and serenity. Phrases polished by the ease born of familiarity and reflecting the sheen of vidwat were aired without much ado or exhibitionism. Tyagaraja's ``Endu daaginaado" (Misra chapu) with neraval and swaras at ``Palanundagaleda" was rounded off with a simple korvai.
Charulatha Ramanujam's violin accompaniment stood out for sensitive interpretation of raga and intelligent handling of swara.
Mannarkoil J. Balaji on the mridangam played with verve and presented a tani that was concise and confident without being aggressive.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
