S Sowmya @ Sree Ramaseva Mandali, Fort School Grounds 05 May 2016

06 May

Vocal : S Sowmya

Violin : Charulatha Ramanujam

Mrudangam : H S Sudheendra

Ghatam : Giridhar Udupa

List :

01. vanajAkSirO (varNam) – kalyANi – Ramanathapuram Srinivasa Iyengar ( S )

02. alakalalla lAdaga – madhyamAvati – Thyagaraja (S )

03. mAyUranAtham anisham bhajAmi – dhanyAsi – Dikshitar ( A )

04. manavinAlakinca rAdatE – naLinakanti – Thyagaraja ( S )

05. amba mInalOcani Ashrita – nAyaki – Mayuram Viswanatha Shasthri ( A )

06. vandE sadA padmanAbham – navarasa kannaDa – Swathi Thirunal

07. RTP – SaNmukhapriya – khaNDa triputa x 2 , +1.5 Eduppu

pallavi line ‘shrI rAma raghuvarA sadA mAmpAhi

tani Avartanam

rAgamalika swaras in ‘valaji, sunAdavinOdini ? , rEvati , surutti

08 bAgilenu teredu – rEvati – Kanaka Dasa

09. chaliyE kunjan mE – brindAvan sArang- Swathi Thirunal

10. mangaLam – saurAshtram

inally rain gods were happy and lashed the city. So was the musical showers at the Mandali last evening. Sowmya, whom I am listening live after a long gap, presented a scholarly concert in not so comfortable environment. Her voice seems to have lost some power and there was mild strain at higher octaves, but she sang very well within her limitations.  What impressed me immensely was the selection of kritis, not often ones in common ragas.

Kalyani varnam, vanajakshirO of Poochi Iyengar was a bright start, adding a few rounds of Kalpana swaras. A unexpected madhyamavati, a rather obscure kriti ( these days at least, not withstanding the MDR rendition available) was very well received. She did made few points regarding this kriti at the end, bringing references to the meaning ( mild movement of the lock of hair in the forehead of Lord Rama in breeze, musically represented by the composers in some flowing sangatis). She also mentioned the way MDR sing those sangatis bringing out the subtle beauty of the composition.

A classy dhanyasi alapana came in next. Long, elaborate and bringing out the shear beauty of the raga. Charulatha played an equally good alapana in her turn. Again, the selection of the kriti was highly appreciable. The only recent reference of some one singing mAyUranAtham is by Vid.Vijay Siva. One was hoping for a neraval and few rounds of swara , but she decided otherwise. She did amends with the next one, where she sang some mesmerising swaras, which also brought in thunder showers to the location. First signal came in with a stream falling on to  my right hand. Soon, there was multiple drops around, including a few on stage directly impacting Charulatha. She shifted two steps behind (from forward short leg position to squareleg) and Sowmya , who was already singing very close to the mike, inched forward a little. Few vessels ( basins) brought in and placed on stage for capturing the water. The whole melee took a short while, and finally the team moved to the right readjusting themselves to most suitable positions. The team on stage, were generally in good humour and not complaining.

Once settled, the concert resumed with a fabulous nAyaki alapana.Another not much heard kriti of Mayuram Viswanatha Shasthry was presented. A short navarasa kannada composition paved way to the main.Shanmukhapriya alapana was decent, but the tanam that followed was probably the best of the evening. Outstanding piece of singing by Sowmya with an equally brilliant violin support. Good pallavi line,deploying ‘swarakshara’ in the uttarangam ( sa da ma pa). Interesting trikaalam, where instead of the usual half speed ( 2 tala cycle) and multi speed ( two pallavi cycle in same tala cycle), she did 2 tala cycle and 3 tala cycle for pallavi.

Sudheendra and Udupa was in good form. Sudheendra probably was a little too excited through out the day. The duo played an entertaining tani avvartanam. Sowmya continued the pallavi with ragamalika swaras post the tani avartanam. Post main was again nothing noteworthy. But the concert despite the unforeseen circumstances was still a top class one.

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Posted by on May 6, 2016 in Uncategorized


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