KARTHICK NARAYANAN - VANI MAHAL
My interest in this concert was primarily to hear Ram play. I had earlier heard him at the Toronto Brothers concert but only caught the tani. Here, I had the opportunity to check out how he provided accompaniment for krithis and I was happy to note that the sparkling tani at last week’s concert was no accident. Ram’s biggest strength is his tone - really sweet with complete fidelity to the tonic. His familiarity with krithis, which stems from long years of listening experience, does not hurt either.
Karthick himself gave a very good account of himself, singing Lathangi (Piravarum Tharum) and Kharaharapriya (Pakkala Nilabadi) as the main pieces. His voice is thin but has both power and range. Besides, the youngster is not afraid to experiment. Aarthi Shankar on the violin played quite well too.
MANASI PRASAD - BRAHMA GANA SABHA
I walked in basically to find out whether giving up that Goldman Sachs job was worth it (on second thoughts, a Wall Street job is probably not the best career option in the present circumstances!). Anyway, after listening to her, I would say that her decision was probably the right one - she certainly has what it takes although there is still a long way to go.
Her voice is bit of a mixed blessing. While it is tonally pleasant and very agile, it is somewhat thin and high pitched. Nevertheless, the artiste uses her voice intelligently, weighing it down with gamakas while leveraging on its pliability for launching potent tara sthayi flights. Although shruti alignment is generally impeccable, especially so in karvais, there is some wavering when sangathis drop off from the constants. This will probably vanish with greater concert experience - one hopes the same for the rough edges in the mandra sthayi.
Manasi sang Sree Krishnam (Thodi) for main and Mamava Sada (Nattaikurinji) for sub-main as well as some rollicking swaras for Janmamendu (Valaji). Thodi was engaging throughout - the Neraval, in particular, stood out.
I can’t remember the names of the accompanists and I did not have a notebook. The violinist was an old man who had occasional trouble with his fingering but his vidwat was evident in the way he embellished his swaras with mukthayis (not to mention his authoritative appreciation of the vocalist!). The mrudangist provided good support - Manasi latched on to the mohra korvai with swaras in the final round, revealing her confidence in the laya department.
Afternoon Beat 2 - Karthik Narayanan and Manasi Prasad
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I walked in to read Vijay's review to see if his decision to not write for newspapers is the right decision, and after reading his clear, well-balanced and instructive commentary on Manasi's performance, I have to conclude it is not. The artist herself can benefit from this as well as the wider circle of rasikas.
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BTW, VK, I did not "decide" not to write - the folks at Carnatica were managing the Express' season supplement last year and they asked me to contribute write-ups along with many others. This year they aren't - so it is not as if I turned down invitations to write reviews!
Anyway, in retrospect I think I am happier writing in a forum where I don't have to pretend that I am an expert.
But thanks anyway...
Anyway, in retrospect I think I am happier writing in a forum where I don't have to pretend that I am an expert.
But thanks anyway...
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- Joined: 03 Feb 2010, 00:01
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