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MADRAS MUSIC MELA 2001

VASUNDHARA RAJAGOPAL - STYLISH, BUT NEEDS TO CHANNELISE

Vasundhara Rajagopal is endowed with a pliable and attractive voice, and registers her vidwat without fail in her concerts. The presentation is stylish enough to be accepted by rasikas. She has a strong grip over laya and is confident enough to successfully indulge in it to the brim. She could, no doubt, go along this route to gain further laurels. On the other hand, these strong points should be channelised, to gain musical experience and to acquire the ever-alluring sukhanubhavam or musical bliss. That should be the ultimate and everlasting achievement, if at all there is anything to be achieved in Carnatic music.

Her weakness is in her alignment to sruti. It is glaringly visible in the first stage of the alapana in the lower octave, chowka kala vinyasa and during long karvai-s in the higher octaves. These can be easily rectified by strong voice culture. The raga structure can be brought out only by lingering on the life-giving notes and with time-tested sanchara-s. Bhava should always score over briga-s for musical experience. These were the thoughts that crossed over my mind during her concert for Narada Gana Sabha on December 17, 2001 in the 2 pm slot. The concert can be deemed successful in all other aspects.

Vasundhara started with the Natakurinji Varnam, Chalamela. She took up Poorvikalyani (Ninnuvinaga) and Todi (Koluvamaregada) for raga elaboration. The kritis were rendered with bhava and finesse. She took up neraval at Tambura chekoni in the Todi kriti and did justice to the raga. The laya aspects were brought out impressively in the kuraippu swaras. Earlier, Saranambhava (Hamsavinodini) and Paradevate (Manirangu) registered well enough, but the Behag piece Irakkam varamal could have been avoided.

The vioinist, Melakaveri Tyagarajan followed effectively. His raga renditions were also well-received, but he ought to look into his bowing technique to avoid scratchy sounds every now and then. Laya support by Hanumantapuram Bhoovarahan (Mridangam) and Ernakulam Ramakrishnan (Ghatam) was adequate, and the Tani avartanam was pleasing with routine sollu-s and korvai-s. The kuraippu was at the samam for easiness perhaps.

Remarks:

• The AC in the auditorium was pleasant throughout.

• The audience was about 60 strong in the beginning, 120 in the middle and over 200 at the end.

• The sound system scored full points.

- Deelen

Posted on December 21, 2001

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