Vocal management, repertoire, psyche, subtle ornamentation, and strong self-confidence – have been set to provide the new generation of singers a high standard in many aspects. And these singers deploy their entire arsenal every time. Of. Gayatri belongs to this club, and her concert for the Sangeet Akademi showed it well.
Gayatri started her line-up in Sahana with Tyagaraja’s Kovur Pancharatna work, ‘Evasudha Ni Vanti’. Her dynamics continued with a volley of vocals at a fast pace. Subsequent Varali Raag Alapana took a more soulful course with its distinctive works performed in good measure by both Gayatri and violinist Vitthal Rangan.
When is an apocalypse complete? Has this happened after all possible accompaniments have been exhausted or when you have demonstrated your understanding and nuance of the raga? Some young singers like Gayatri are counted on the former singers. ‘Seshachal Nayakam’ (Dikshitar, Rupakam) in ‘Aravinda Patra Nayanam’ with niraval and paired with vowels, delivered clinically, although one felt an overflow. sometimes less is more.
similar yet different
The much-awaited speed-breaker came in the form of Ponniya Pillai’s masterpiece, ‘Amba Nilambari’, which in the same raga has the same flavor as Dixit’s masterpiece and yet stands out in its own right. Gayatri accepted Vilamba’s sentiment very well.
Then ‘Parkeela Nannu Parapalimpa’ in Kedargoula (Shyama Sastri) with her own blood, yet brimming with Chittaswaram, brought back Gayatri’s enthusiasm to flourish better.
In the Karharpriya Alapana, Gayatri’s exploration of the lower vowels of the middle sojourn was elegant. A masterful rendition of ‘Chakni Highwayamu’ (Thyagaraj, etc.) sums up the raga as did Niraval in ‘Kantiki Sundar’. Both Gayatri and Vitthal Rangan were smooth and effortless in their execution. The vocals were well packed with kurayappu ending in daivatam, as is the norm now.
A Javali ‘Tarunamide Varai En Swami’ by Guru Suguna Purushottam in Behag is a beautiful composition, and Gayatri renders it in her own captivating style. Effortlessly fulfilling the demands of a busy stage singer like Gayatri, Vitthal Rangan is now in the big league. He was in his elements during the Karharpriya Raga and Worli Alpana sections, demonstrating the ability to thrive in quick-action settings. Like Gayatri, she too has to adopt self-pleasure and emotion more than rattle. With a scandalous voice, Gayatri too opted to play the role of a mere warrior.
Modifying the level and tone of decibels can change the mood more quickly. After all, some musical value is lost in singing tornadoes. And this will be the first lesson of ‘Swanabhav’, the next discovery. Gayatri has the potential of that development.
Experienced mridang player Manoj Shiva’s work knowledge came in handy for playing the song and its accompaniments instead of playing mechanical ‘solus’. He made sure that the lead artist did not become a hindrance in the delivery of his ideas. Prasanna’s Ghatam accompaniment assisted the intense phases of the concert well.
The critic specializes in Carnatic music.
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