A lively translation
To drive home the ragas better Heggar Ananth made use of film songs set to classical ragas
ADMIRABLE Sharada's singing spoke of good training
It was a pleasant experience to listen to vocal music by the talented Heggar Ananth Hegde. His recital was held in connection with the release of his CD at the Nayana Auditorium. The specialty of the CD is that the meritorious vocalist has cleverly picked up a few old film songs tuned in Hindusthani classical ragas and rendered them in an appealing manner. He set a lively ambience with his live concert supported ably by Umakanth Puranik and Rajendra Nakod on the harmonium and the tabla respectively.
Rendition of a sandhya prahar raga (a raga to be sung in the twilight) Pooriya Kalyan which resembles the Poorvi Kalyani of Carnatic music and singing of "Aaj sukhana" (vilambit ektal) and "Bahut din" (drut teental) proclaimed singer Ananth Hegde's solid musicianship. With a strong voice well aligned to shruti he gave an excellent account of the raga. The manner in which he laid out the exposition, he appeared firm in his ideas and ideals, and not certainly the musical medley seen at the hands of a few other vidwans. Three factors were noteworthy brevity, a clear idea of raga swaroopa and crisp rendition. Purandaradasa's "Alli nodalu Rama" (Khamach) and an old-time composition "Sham naa maano" (Bhairavi) were notable for clear enunciation of the sahitya and the raga bhava without distortion. His real asset is his voice. It has an inherent strength that makes his interpretations weighty.
Good on the ears
Listening to Sharada Bharath Vadavatti, the daughter-disciple of the renowned clarionet artiste Pt. Narasimhalu Vadavatti, at the Yavanika in the EFCEP series, I noticed that she was keen and well trained. She proved to be a genuine heir to her father's tradition and lineage of music too. The poise with which she presented her music was admirable. And that poise was possible because her voice was smooth and presented no problems in any of the three octaves. It was very pleasant too but the effect produced by it was of a "melodic drugging" character. This could easily be changed to the more desirable melodic tonic effect if the young singer goes in for a slightly higher pitch and also cultivates a voice that suits the Hindusthani style.
The content of her recital was also fetching. When I entered the hall, the aura of Shyam Kalyan ("Nand bulavath", drut teental) had moved the rasikas. The bols, bol-taans and a couple of sargams were attractive.
The singing of Basaveshwara vachanas and keerthanas by Haridasas was another high point of her recital. "Kaage ondagalu" (Bhatiyar), "Kalla naagara" (Yaman), "Summane Dorakuvude" (Keeravani), "Gehi gehi" (Sant Tukaram's Marathi Abhang, Bheempalas) followed by the concluding "Math jaa math jaa jogi" (Meerabai, Bhairavi) were impressive.
Shravanakumar (harmonium) and Keshava Joshi (tabla) did an excellent job of efficient accompanists.
M. SURYA PRASAD
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