A traditionalist’s approach
CHENNAI: She is knowledge-wise rich. And, she is known to be a stickler to the well laid out practice. Naturally, she commands respect from a section of the audience, which views Carnatic music from a traditional prism. Not surprisingly, people flock to Sowmya’s concert with pre-set views. During her recital for Sri Krishna Gana Sabha on January 4, 2014, her vidwath was apparent as she rendered some beautiful compositions of the Trinity (Dikshitar, Thyagarja and Shyama Sastri). Janaranjani alap saw her get into an expansive exploration, bringing the finer shades of the raga with beautiful sancharas. Thyagaraja’s “Nadadinamata” was rendered with poise. She did a neraval at “Talakku Vachina Bada talapagaku Chedu”. Embar Kannan on the Violin gave a skillful support with felicity. Sowmya began the evening concert with a Saveri varnam, “Sarasuda”. She later rendered “Chinna Nadenna” of Thyagarja in raga Kalanidhi with ease. Dikshiatar’s “Sadachaleshwaram”(Bhoopalam) and Thyagaraja’s “Brovabarama Raghurama” after an inspiring Bahudari alap went down well with the audience. Her guru late Ramanathan’s composition”Ika Tala Lethura” in raga Hemavathi set to Kandu chapu talam was presented with devotion. Swarajati of Shyama Sastri “Kamakshi” in raga Bhairavi was exhilarating, especially since the diction came out clearly. The Bhairavi alap was expansive. She signed off the evening concert with a Kavadi Chindi “Kadallenum Theevinile Radhe Radhe”(Kamas), her favourite piece.
The taniavarthanam between Manoj Shiva and K.V.Gopalakrishnan saw them adequately displaying their expertise within the available time.
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