Vocal Concert of Sreevalsan Menon - part 2
The concert was scheduled at 5pm but began only at 6pm. And it was 10:30 pm when I drove back home and had dinner. It would be very kind on the organizers if they could schedule the concert at 3pm. The organizers definitely have to work at the timings.
The mike system totally failed after the mike tests had been done and the artistes were about to begin. So, the concert was further delayed till the mikes were fixed. Though the screeching initially troubled the artistes and the audience, the mikes were set-to-go after few songs. Such incidences could not be predicted and the organizers have to be commended for their trouble-shooting skills and coordination. If not for them, many people from the front rows would have honestly got up and went to the back rows.
It could be because of the poor mikes and lack of feedback for the artiste that the first few songs didn't impress me. Todi varnam especially, flagged the Todi spirit. My mind, the monkey, wouldn't stop from going back to M.S's rendition of Todi varnam. It could also be that I have become very judgemental while listening to the performance. It becomes difficult to simply sit and let the music carry you while you have a pen and paper at hand taking notes. May be I should only jot down the list of songs from next time and focus purely on the music without judging and guessing. The critic shouldn't take upperhand over the rasika.
There was an overall smoothing effect in Srivalsan's rendition. At the end of the concert, Sri. Shivakumar observed that Srivalsan's rendition was full of bhava and songs were well paced for a balance. "Well-paced" would mean placing songs in class-room style (with less decorations) in between lengthy main pieces (that brings out the manodharma of the artiste). Fireworks in every song would be a big kill. But there is also another point that comes up. Not every song in the concert soaks into the audience. Its important for the performer to strike a balance and Srivalsan definitely achieved this.
While Atana was routine, Kannadagowlai and Varali sounded like fillers. Come Jaganmohini, once could feel the powerful and masculine voice of Srivalsan at all octaves. Obsolutely captivating voice, no pisuru at any time, flowing with ease without complex manipulations of brigas. Everyone was looking for Sobillu while he stumped us out with Dayapayo Nidhae. Excellent choice of krithis, more so, the choice of Tukkadas (discussed later).
Rajna's brilliance was very obvious during Mandari. I must say she set the tempo for the concert from this piece. The concert took a 'WOW' at Hamirkalyani. I enjoyed the alapana at higher octaves and also the krithi as it was new to me. Sri.Shivakumar later told that the prayogam of 'Ni' was notable and pedagogical in Hamirkalyani.
Akshayalinga Vibho, the main piece, and Bairavi RTP were remarkable. Lower octave is an area that Srivalsan could explore more (he didn't touch it totally). After the Tani avardhanam of Rajna for a challenging Misrachapu, Srivalsan stopped to praise her then and there. The brilliant Maryland 11th grader Rajna is "set to conquer the world" definitely. Amazed at how she tipped her index finger over thumb !!! The raga Patiyar at the trailing end of RTP ragamalika left everyone guessing. Later Srivalsan announced it was Patiyar after concert. It was very resouceful of Sri. Shivakumar to ask him. His vote of thanks was very apt and descriptive of the performance.
Tukkada songs need special mention. I was mesmerized during the Desh bhajan and the songs on guruvayoorappan and Iyappan. Srivalsan also introduced the authors of the two songs who were present there among the audience.
Except for the beginning, the concert was overall very enjoyable. Left the hall happy. That's all matters ultimately.
Something to take home: few CDs of the artiste were available for sale outside the hall. I asked for the price and heard $10 each. I turned the CD around and it was MRP Rs.100.
The mike system totally failed after the mike tests had been done and the artistes were about to begin. So, the concert was further delayed till the mikes were fixed. Though the screeching initially troubled the artistes and the audience, the mikes were set-to-go after few songs. Such incidences could not be predicted and the organizers have to be commended for their trouble-shooting skills and coordination. If not for them, many people from the front rows would have honestly got up and went to the back rows.
It could be because of the poor mikes and lack of feedback for the artiste that the first few songs didn't impress me. Todi varnam especially, flagged the Todi spirit. My mind, the monkey, wouldn't stop from going back to M.S's rendition of Todi varnam. It could also be that I have become very judgemental while listening to the performance. It becomes difficult to simply sit and let the music carry you while you have a pen and paper at hand taking notes. May be I should only jot down the list of songs from next time and focus purely on the music without judging and guessing. The critic shouldn't take upperhand over the rasika.
There was an overall smoothing effect in Srivalsan's rendition. At the end of the concert, Sri. Shivakumar observed that Srivalsan's rendition was full of bhava and songs were well paced for a balance. "Well-paced" would mean placing songs in class-room style (with less decorations) in between lengthy main pieces (that brings out the manodharma of the artiste). Fireworks in every song would be a big kill. But there is also another point that comes up. Not every song in the concert soaks into the audience. Its important for the performer to strike a balance and Srivalsan definitely achieved this.
While Atana was routine, Kannadagowlai and Varali sounded like fillers. Come Jaganmohini, once could feel the powerful and masculine voice of Srivalsan at all octaves. Obsolutely captivating voice, no pisuru at any time, flowing with ease without complex manipulations of brigas. Everyone was looking for Sobillu while he stumped us out with Dayapayo Nidhae. Excellent choice of krithis, more so, the choice of Tukkadas (discussed later).
Rajna's brilliance was very obvious during Mandari. I must say she set the tempo for the concert from this piece. The concert took a 'WOW' at Hamirkalyani. I enjoyed the alapana at higher octaves and also the krithi as it was new to me. Sri.Shivakumar later told that the prayogam of 'Ni' was notable and pedagogical in Hamirkalyani.
Akshayalinga Vibho, the main piece, and Bairavi RTP were remarkable. Lower octave is an area that Srivalsan could explore more (he didn't touch it totally). After the Tani avardhanam of Rajna for a challenging Misrachapu, Srivalsan stopped to praise her then and there. The brilliant Maryland 11th grader Rajna is "set to conquer the world" definitely. Amazed at how she tipped her index finger over thumb !!! The raga Patiyar at the trailing end of RTP ragamalika left everyone guessing. Later Srivalsan announced it was Patiyar after concert. It was very resouceful of Sri. Shivakumar to ask him. His vote of thanks was very apt and descriptive of the performance.
Tukkada songs need special mention. I was mesmerized during the Desh bhajan and the songs on guruvayoorappan and Iyappan. Srivalsan also introduced the authors of the two songs who were present there among the audience.
Except for the beginning, the concert was overall very enjoyable. Left the hall happy. That's all matters ultimately.
Something to take home: few CDs of the artiste were available for sale outside the hall. I asked for the price and heard $10 each. I turned the CD around and it was MRP Rs.100.
Hey Aarthi,
ReplyDeleteThe mridangam artiste is Rajna Swaminathan (not subramanian). You got the organizer and accompanist mixed up, huh!! :) :)
corrected, Ma'am ;-)))
ReplyDelete