Music review: All women-ensemble enthralls audience
Tremendous creativity and scholarship was evident in the Carnatic vocal concert of Meghana Moorthy, organized by Sathguru Sangeetha Sabha at Padmasree Kalyana Mandapam in Kozhikode.
Meghana , a disciple of Sreemati Vidya Ramanath and Vidwan J Venkatraman, started learning carnatic music at an early age and has performed in several prestigious Sangeetha Sabhas of South India.
Meghana opened the concert with the Begada varnam ‘Inthachalamu’. This was followed by 'Vinayaka Vighna Nashaka,' a composition of Muthuswami Dikshitar in Vegavahini.
She then picked up ‘Marivere Dikkevvaru’, a composition of Patnam Subramania Iyer in Lathangi. The alapana brought out the raga bhava in full splendour. The 'neraval' and 'swarakalpana' were also a treat for the audience. Parvathy Venkatachalam’s delineation of the raga was immaculate.
The next krithi was 'Manavyalakimchara' in Nalinakanthi, which was rendered in a fast tempo and was aesthetically pleasing.
The main piece of the evening was 'Tulasi Bilwa,' a composition of Saint Thyagaraja in Kedara Gowla and set to Aadi Tala. Kedara Gowla is a very appealing raga which exudes various types of emotions like karuna, shringara and bhakthi. The raga is dealt with great care by musicians as the gamaka at ‘rishabham’ should be rendered carefully in order to bring out the raga bhava.
Meghna brought out the essence of the raga in her alapana of Kedara Gowla. Her impeccable manodharma was evident in ‘neraval’ and ‘swara prasthara’. While Parvathi Venkatachalam gave excellent support on the violin, Ranjini Venkatesh enthralled the audience with her skills on the mridangam. Ranjini’s ‘Thaniyavarthanam’ was gripping. She is one of the very few female mridangam artistes in the country.
‘Neeyako Ninnahangyako’ in Karnaranjini and a thillana in Madhuvanti were the ending pieces of the concert.
However, it was evident to the discerning listener that a little more team work would have enhanced the impact of the concert.