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IN CONTROL Vani Satish’s voice is well-chiselled, melodious, sharp and resilient. It can easily reach the taara sthayi.; Pattabhiram Pandith was very expressive
Style is attractive but not deeply absorbing; scholarship is instantly captivating, but the overall approach not very soothing. Sprightly narration of the versatile artiste arouses interest but brilliant progressions dampen the evolvement of a transcending ambience.
Voice is well-chiselled, melodious, sharp and resilient.
It can easily reach the taara sthayi with more gains in terms of timbre and expressions. “Neranammithinayya” (Kaanada-Ramnad Shrinivasa Iyengar) and “Vaathapi Ganapathim” (Hamsadhwani - Muthuswamy Dikshitar) gave an animated start to the concert, and the energy never dipped.Spontaneous
She developed Dharmavathi (“Bhajanaseyarada” - Vasudevacharya) progressively - sukshma gamakas and sancharas emerging spontaneously to suit her manodharma. Yet, a mellowed tone would have added the element of devotion independent of that the lyrics and the raga inherently carried.
Further, clear diction gave the neraval (“Niravadhisukhadayakuni”) a meaningful dimension, and the swaraprastara that followed amply reflected her competence.
Raga Thana Pallavi (“Raghukula Thilakudai”) in Bilahari featured interesting Layavinyasa and kalpanaswaras (Ragamalika).
The melody accompanist Charulatha Ramanujam (violin) followed the lead artiste in matters of both creativity and versatility. The inspired rhythm accompanists B.C. Manjunath (violin) and S. Manjunath (ghata) built up resonating and reverberating rhythm patterns in thaniyavarthana.
Other highlights were “Maamava Pattabhirama” (Manirangu- Muthuswamy Dikshitar), “Krishna Ni Begane Baaro” (Yaman-Vyaasaraayaru) and so on.
Pattabhiram Pandith’s vocal concert at the same venue had both the extremes of pyrotechnics and mature music.
T.K.V. Ramanujacharyulu (violin), H.S. Sudhindra (mridanga) and G.S. Ramanujan (ghata) accompanied him - a confluence of four scholars of imagination, competence and creativity.
Alapana in Lathangi (“Aparadhamula” - Patnam Subrahmanya Iyer) spurted all of a sudden into the taara sthayi.
The aggressive akaaras spoiled the import of the lyrics, and speed overshadowed the mood. The swaraprastara was in no way better.
Thus, the entire interpretation failed to support the contemplative, imploring tone nested in the composition, intended by the composer and embodied in the raga.Competent
Pandith’s exceptional competence knew no bounds in Raga Thana Pallavi, and the listeners’ wonder and admiration defied all reserve.
His expressive voice, though not endowed with rich resonance, has energy and authority.
Articulations are at his command and therefore achieving coordination between imagination and its implementation was spontaneous for the trained artiste.
Ragavardhini (evolvement) in Shankarabharana, Todi, Kalyani and Darbar followed a systematic Akshipthika (preface) methodically extracting their essences individually and in combination.
He explored the potentialities of individual swaras and interpreted them in their collective capacities. Thana also followed the same pattern.
The Pallavi – “Shankarabharane Alaithodi Vaadi Kalyani Darbarukku” in Ragamalika comprised the ragas imaginatively suggested in the lyrics. Transitions were smooth and spontaneous.
Kalpanaswaras contributed to the melodic aspects of the raga, hypnotic beauty of the lyrics and the stimulating fervour of the beats.
The rhythm- experts demonstrated their creativity and dexterity in thaniyavarthana, which was the prominent and remarkable feature in “Paramapavana Rama” (Purvikalyani - Ramnad Shrinivasa Iyengar).
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