on 15th April 2009 01:33 PM
Spotlight on sahitya
Sudha Ragunathan’s voice has gained a silken sheen over the years and is at its best in this recording.
Of late, DVDs seem to be steadily replacing audio CDs, as the listeners are able to enjoy the music of their favourite artists more by watching them in action.
The recently released DVD by Amutham Music P Ltd has Sudha Ragunathan rendering compositions of various composers. The vocalist has given prominence to the compositions by restricting raga alapana, niraval and kalpanaswaras to only a couple of songs. Sudha’s voice has gained a silken sheen over the years and is at its best in this recording.
The Khamas daru varnam ‘Maathe’ of Harikesanallur Muthaiah Bhagavathar provides a bright start to the proceedings with the noteworthy mridangam accompaniment of Patri Satish Kumar.
Tyagaraja’s ‘Mariyadagadayya’ in Bhairavam is vocalised by the singer in a sedate fashion, reminding the listener of the soulful rendering of this composition by Sudha’s guru, M. L.Vasanthakumari.
Full justice is done to the rendering of this song, without burdening it with unnecessary solfa passages.
An element of drama
A breezy sloka in Hindolam paves the way for Mysore Vasudevacharya’s beautiful composition ‘Mamavathu Sri Saraswathi.’
The vocalist adds an element of drama by commencing the kriti from ‘Saraswathi’. The swaras are also sung at ‘Saraswathi’ with tidy replies by the violinist Embar Kannan.
Rishabapriya is the raga chosen by Sudha for an alapana in this recording. The chaya of the raga gets established clearly with the opening phrase employing the notes ‘NDNDPMGRG’. The essay is of the right proportion with the jarus, janta prayogas, lingering karvais and electrifying brigas contributing to a wholesome effect.
The vinyasa with perfect swara sthana sudham accounts for the maximum listening pleasure in this album. Kotiswara Iyer’s ‘Gananayadesika’ is rendered with azhutham and the patanthara is a weighty version.
A brief niraval at ‘Sapthaswara’ is followed by kalpanaswaras and a kuraippu with an attractive korvai, all of which bear testimony to Sudha’s involved approach. The short percussion interlude by Patri Satish Kumar and R. Raman (morsing) is restricted to a mohra and a korvai which are delightful.
The vocalist has offered seven songs which constitute the tukkada section.
‘Ragi Thandiro’ (Ahir Bhairav-Purandaradasa), ‘Vishamakarakannan’ (Chenchuruti-Oothukadu Venkatasubba Iyer), ‘Nandanandana’ (Suddhasarang-Meera), ‘Aarupadai Veedamarnda’ (Ragamalika-Vishvanathan), ‘Chidambaranai’ (Sindhubhairavi-G.S.Mani), ‘Bhavayami’ (Yamunakalyani - Annamacharya) and a thillana in Brindavani composed by M. Balamuralikrishna account for the tukkadas. A sloka and a virutham precede the songs in Yamunakalyani and Sindhubhairavi. The Meera bhajan, however, falls a bit short of expectations.
on 24th October 2012 01:30 PM