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virtuosity and melody

Combining virtuosity and melody

Published on

Wed, May 23, 2018

Published in

The Hindu

S. Saketharaman’s recital proved that his main strength is his ability to breathe bhava into compositions in the right measure, apart from having an absolute control over his voice. Rakshamam saranagatham in Natta, Adi was followed by Kalaharana of Tyagaraja in Sudhasaveri and Adi, which served as an exposition of his swara prasthara. Saketharaman struck a chord with the audience by breaking into a short alap of Suruti. The slow tempo in which Swati’s Alarsara parithapam was delivered was remarkable. In contrast to this, Brova bharama in Bahudari, a Tyagaraja composition, was faster. The song being the main number, Saketharaman chose Bhairavi for a vivid portrayal. His concern for melody was evident in the sancharas in three sthayis.

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