|
Entertainment
 
Spectacular
sancharas
ALL THE nuances of Sriranjani
raga were charmingly and minutely played by flautist Shashank for Hamsadhwani. He used the long and short flute
effectively and when he indulged in speedy phrases it was done without
sacrificing melody. The breath control evoked good response from the
audience.
The RTP (Sriranjani)
was marked by erudition and tala precision. Set
to khandajati triputa,
it gave tala buffs great satisfaction. A speedy ragamalika proved a good embellishment. Gimmicks there
were, but not at the cost of melody. Such was Shashank's
command. Within the limits of the instrument, violinist Embar
Kannan tried to answer fairly well the flautist's
spectacular brighas and sancharas.
And the discerning rasikas did not fail to laud Kannan's efforts.
After the Sriraga
varnam, Shashank rendered an expressive alapana in Sarasangi for Patnam Subramania Iyer's "Nikeladayaradu"
and followed it up with another Patnam Subramania Iyer kriti "Idinyayama"
(Malavasri). He then began a lengthy alapana in Chandrajyoti for Tyagaraja's "Bagayanayya."
Perfect in terms of raga scale the alapana done in a detailed manner spoke of his vidwat. Shashank played the kriti
with several innovative sancharas, which won
appreciation. The RTP was followed by a few soulful bhajans
and the Kamatch tillana
was enjoyable.
Poovalur Srinivasan's mridangam beats exuded melody and the other
accompanists, Tiruppunithura Radhakrishnan
(ghatam), P.S. Phalgun
(kanjira) and Mysore Gururaj (morsing) made useful
contributions in the brief, entertaining tani avartanam.
KSR
Printer friendly page
Send this article to Friends by E-Mail
Entertainment
|
