Subhiksha Rangarajan at the Academy - 28th December

[mohan7narayanan]

This was a mid-day (12.00 to 1.30 PM today, Saturday) Kutcheri which was outstanding for more than one reason. Firstly being not (as yet) a famous or popular singer, to risk carrying the voice to the highest possible pitch (for her voice) and rendering a great part of the sahithyas and swaras at that voice level in front of a highly discerning audience as the Academy's, was indeed a brave and laudable effort. Any slippage there and the singer stands to be condemned forever. Secondly, I could feel the tremendous practice ('asurasadhagam") she had put in for this type of performance. Subhiksha showed excellent grasp and command of the raagas she had chosen for the concert - her Kambhodi, Lalitha and Dhanyasi were scintillating. I appreciated that she did not take the easier path of playing to the gallery by choosing any of the "easily appreciated" (manoranjitham) raagas like Mohanam, Ranjani, Shanmuhgapriya etc. Her body language, hand gestures all reminded me of TMK. Subhiksha's mother, Smt Lakshmi Rangarajan, was a disciple of Sri T M Thyagarajan (TMT) and Subhiksha learnt music from her mother.. TMT Is in turn a disciple of Semmangudi and so was TM Krishna. Thus the "Bhani" is very evident! Thirdly, her current stint abroad (she is doing her Masters in Jazz Music in Canada) has indeed opened her outlook and approach to music - not that she resorted to any improvisations as in Jazz, the music was 100% CM ("parama suddham") but she "sees" a bit more into the deepness of "music" than most of our singers whose minds are shut to any other type of music outside CM. I hasten to add - no harm in that and nothing degradatory meant - but there IS a difference. Dikshithar's exposure to the North Indian court music, Ravi Shankar's experiences in the West as well as the width and breadth of the music of Ramnad Krishnan, T Viswanathan etc who encountered other forms of music in the US Universities they taught CM, are classic examples. It is Exposure!

H M Smitha on the violin and B C Manjunath on the Mridangam gave very good support. I liked the "thani" of Manjunath - brisk, clean and the right duration.

Incidentally, Subhiksha is also a talented painter and graphic designer, which adds yet another dimension to her music (eg the late S Rajam). We are bound to hear more (from and about) of Subhiksha Rangarajan in the coming years! Keep your ears - and eyes as well! - open!

[kssr]

Lalitha was indeed very well presented. I think, with time she will learn that it is not just the highest octave which will get appreciated. Lower octaves can be presented with equal beauty. She definitely has good potential. wish her the very best.

[harimau]

Her body language, hand gestures all reminded me of TMK - who I understand taught Subhiksha's mother, who in turn taught music to Subhiksha.

Subhiksha's mother Smt Lakshmi Rangarajan is a student of TMT (Sri T M Thyagarajan), himself a disciple of Sri Semmangudi Srinivasa Iyer.

A very good Dhanyasi and Lalitha though Nalinakanthi (Manavyalakinchara) sagged a bit.

[mohan7narayanan]

kssr...No doubt, music can sound equally good at a lower pitch, I agree. What I wanted to bring out is that the voice culture of most Carnatic Singers is usually not developed to bring out their full possibilities, they limit themselves to the 2 or 2 1/2 Octave range. In contrast to Hindusthani Classical singers (an example we in Chennai very well know is Begum Parveen Sultana - 3 1/2 Octave range) not to speak of Opera singers (please view http://www.youtube.com/watch?v=FamPZt8ImcU - Soprano Renee Fleming singing flawlessly covering 4 1/2 Octaves). Just pointed out that Subhiksha, was bold enough to take the risk of singing in the higher Octaves. Nothing more!

[mohan7narayanan]

harimau....thanks for correcting me. Currently I understand that Subhiksha is under the tutelage of R K Shriram Kumar.