Revealing the class
She brought a new idiom to the raga Shubapantuvarali, and pushed the audience to a fresh experience. The alap was a reinforcement of her class. Some of the phrases were difficult. For Nithyashree, however, they proved easy toys. She didn’t stop by just learning from D.K.Pattammal. By infusing her own style into each and every improvisation, she showed her rich repertoire, hard work and creativity. Indeed, years of toil is paying huge dividend now for her.
Thyagaraja’s “Mapala Velasi” (Asaveri) bore the DKP stamp. Nithyashree added her flavour by richly embellishing it. DKP used to be so accomplished at rendering the kritis of Dikshitar. “Kanchadalayadakshi” (Kamalamanohari) was a sublime rendering. Gopalakrishna Bharathi’s “Sabapatikku” (Abhogi) was enjoyable what with her clear diction. Nithyashree gave prominence to the Trinity that evening. Shyama Sastri’s “Parakela nannu” (Kedaragaula), a racy kriti, preceded her impacting Shubapantuvarali alap. What followed was Thyagaraja’s “Ennalu Orake”. Mridangist Satish Kumar and ghatam artiste Giridhar Uduppa did a grand job during the `tani avarthanam’, matching each other with delectable beat combinations. Violinist Ragavendra Rao gave a good account of himself with his sincere bowing.
“Chalamela varnam” in Darbar earlier was a good start to the evening. “Dandamu Petta”, a kriti of Thyagaraja in Balahamsa raga, is a rarity in concert circuits. It was indeed nice to see her sing. “Kovi Azhaikka” (Sindhu Bhairavi) was preceded by a Virutham in ragamalika (Saveri & Ranjani). “Bandanene Ranga” of Purandaradasa” and “Bhooloka Vaikuntam Tirumalai’’ in Maand were rendered with dedication. The nearly three-hour concert came to a finish with a Dvijavathi thillana.
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