The forte of Lalgudi style are longish, sonorous strokes couched in bhava-laden phrases they were there, but surprisingly in parts. They were not only aesthetic but also technically impressive. Two ragas, Sankarabharanam presented by Vijayalakshmi and Shanmukhapriya by both, were dealt with in detail. Tyagaraja’s ‘Nannu vidachi’ in Ritigowla was a sober filler. In ‘Bhuvaneswaria’ in Mohana Kalyani (a favourite raga of the Lalgudi clan) by Muthiah Bhagavatar, the swara exchanges between the siblings reminded one of the inimitable thillana composed by their father in the same raga. Similarly, the swarakalpana that followed for the next piece ‘Ekambresa nayike’ in Karnataka Suddha Saveri (Dikshitar) was a charming cluster of swaras. They opened with a varnam of Lalgudi Jayaraman with the essence of raga Nalinakanti reflecting in every note. Throughout the concert the melody remained intact despite the artistes bringing in a newness to the presentation. At their concert for Hamsadhwani they displayed how one can stay true to the grammar yet push the creative boundaries. The torchbearers of the Lalgudi bani, GJR Krishnan and Vijayalakshmi bring in their own to their legacy with their distinctive style.
0 Comments
Leave a Reply. |