Sruti Sarathy- Violin
Shertalai Ananthakrishnan- Mridangam
Adambakkam Sankar- Ghatam.
List of compositions.
• Varnam- Saveri.
• Pavanathmajagacha- Nata- MD (S)
• Manasuloni marmamu- Varamu- T (R,N,S)
• Ninnuvinaga mari- Poorvikalyani- SS (R,N,S)
• Kanavendum Laksham kankal- Suruti- AK
• Dinamanivamsa- Harikambodi-T (R,S)
• Virutham- Tiruvadiyum tandayum- Ragamalika- Kandar Alankaram
Dhanyasi, Mohanakalyani, Revati, Rasikapriya
• Arul seyya vendumayya- Rasikapriya-KI
• Sarvam brahmamayam- Madhuvanti- Sadasiva Brahmendra
The concert of VS was marked by good sruti alignment, chaste aesthetics and classism, creating a tranquil atmosphere while maintaining a zero sag tempo during the concert that lasted for two hours. Starting the concert with the evergreen Saveri varnam, the next song Pavanathmajagacha was rendered in a medium tempo and appended with liberal bouts of kalpana swarams. Ragam varamu was elaborated in a disciplined manner adhering to the contours of the ragam without any overlap with Hindolam. The song Manasuloni which is normally heard in Hindolam was rendered in Varamu. There are two versions for this kriti. The appreciable part of it is the care taken to avoid wrong splitting of words. She took care to sing as Manasuloni marmamulu whereas many isngers chose to sing as Manasulonimar mamulu. She remembered S.Rajam Sir who takes special care for such nuances. The neraval was in the lines Kanikarambuto and swarams followed.
After a detailed alapana of ragam Poorvikalyani, the Syama Sastri masterpiece was taken up. Here again neraval was done in an innovative manner on the lines Pannaga bhooshanudaina Kanchi ekambrapathi and the swaras were icing on the cake.
After the filler song of Arunachala kavirayar- which is very rarely heard on the concert platform, the main ragam for the day was Harikambodi- again, a rare one for the main suite. The raga was developed in a disciplined manner exploring the depth and breadth of the ragam followed by the Thyagaraja masterpiece Dinamanivamsa. The kriti was rendered in an appropriate kalapramanam never losing on the minute nuances and with the time tested sangatis in tact. Elaborate swarams reflected the singer’s manodharmam, vidwath and laya prowess.
The virutham that came in the post tani session had adequate devotional appeal to Lord Muruga in view of the just completed Thai poosam and was aptly followed by the Koteeswarar Iyer kriti in the ragm Rasikapriya. This assumes significance as the day happened to be the birthday of her Guru S.Rajam who took to popularising vivadi ragams and Koteeswara Iyer kritis as the mission of his life. VS dedicated this concert to the memory of S. Rajam, her Guru. The curtain came down with Sarvam Brahmamayam in Madhuvanti which was tuned by her Guru.
Sruti Sarathy, provided good following on the violin and her raga alapanas and swara returns were succinct. Shertallai Ananthakrishnan on the Mridangam embellished the concert with his powerful strokes which displayed variety and dexterity. His tani with Adambakkam Sankar was relishing.
There were many concerts in the vicinity on that day and that affected the audience turn out for this concert.
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