Fine touches
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Sharada and Harini made a good presentation mainly because of their reverence for tradition
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Photo: V. Sreenivasa Murthy
IMPRESSIVE Sharada and Harini performed rare ragas and compositions
The M.A. Narasimhachar Music Foundation organised a vocal duet by N.R. Harini and N.R. Sharada, last Sunday, accompanied by B.K. Raghu (violin), B.R. Srinivas (mridanga) and Phanindra Bhaskara (ghata).
The concert began with “Sami Dayajuda”, Thiruvottiyur Thyagayyars adi tala varnam in Kedaragoula, and “Jayajayajaya Janakikantha” in Nattai and khanda chapu, succeeded by a polished rendering of Deekshithar’s kriti in Bhouli, “Shriparvathi Parameswarau” with clear enunciation of the lyrics and the right kalapramana. The kalpana swaras affixed to “Vinathasuthavahana” by Thyagaraja in Jayanthasena and adi tala remained true to raga bhava as reflected in the krithi, mainly through the pronounced gamaka in the sadharana gandhara.
A detailed exposition of Purvi Kalyani with “Jnanamosagarada” in rupaka tala followed. The alapana by Sharada demonstrated a distinct preference for fast brigha-oriented phrases, and while this attested to good voice control with some fine touches, it did result in a certain lack of repose. The elaborate neraval at “Paramathmudu Jeevathmudu” ascending gradually to the tara sthayi gandhara, as well as the kalpana swaras, displayed attractive patterns of manodharma accentuated by appropriate support from the accompanists.
“Baro namma manege” in Vasantha served as prelude to the main raga of the evening, Todi. Harini’s alapana also favoured a brigha-laden style replete with intricate and complex sancharas, and while it was impressive, the majesty of the raga warranted a more sedate and measured pace. The expansion around the madhya sthayi panchama and the use of the plain gandhara in the tara sthayi were among the notable aspects of the alapana. Thyagaraja’s “Koluvamaregada” in adi tala, a masterpiece in the raga, elevated the concert to a higher plane of stately classicism. The consummate ease of the kalpana swaras at “Tambura chekoni” in the charanam, with the take off point of the sahitya in the second drutham , infused the entire exercise with great vitality. However, by skipping the neraval at the same point, the lofty standards for which were set by Ariyakudi, the rendition was deprived of a greater degree of fulfilment. The violin accompaniment by B.K. Raghu and percussion by B.R. Srinivas and Phanindra Bhaskara remained at all times complementary, and an elaborate tani avarthanam provided the grand finale to the item.
The performance, which owed much of its success to the choice of ragas and compositions, and to the artistes obvious reverence for tradition, concluded with Rajaji’s well-known ragamalika “Kurai ondrum illai”.
MADHAVI RAMKUMAR
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