The night belonged to Priya

The night belonged to Priya
The night belonged to Priya

Veteran vocalists, Shanmukhapriya and Haripriya, are recognized for his or her wealthy manodharma. Their capability to innovate, which greater than compensates for his or her gentle voice, was evident within the wonderful Rishabhapriya.

At Bharatiya Vidya Bhavan’s December music competition 2022, Shanmukhapriya started the alapana and let Haripriya proceed it and collectively the Priya Sisters produced a totally fulfilling Rishabhapriya. It is fairly a shock, and maybe a pity too, that Rishabhapriya is much less standard than its cousins, Charukesi and Lathangi – the raga deserves higher consideration; Priya Sisters should be complimented over their alternative of the raga. The vocalists had been accompanied on the violin by one other veteran, M.A. Krishnaswamy, whose exposition of Rishabhapriya got here out in a gradual, note-by-note method. Those who observe Priya Sisters know the singers’ penchant for D.Okay. Pattammal’s composition, ‘Panniru Kaiyane’, would have guessed, the vocalists took up that composition and sang it superbly, with a protracted tail of swaras on the finish.

Whether the preponderance of ‘priya’ within the concert events was accidentally or design is a matter of hypothesis, however Rishabhapriya was adopted by Karaharapriya. Haripriya sang many of the alapana, fairly neat and presently got here Papanasam Sivan’s lovely composition, ‘Janakipathe jaya karunya jaladhe’. As anticipated, niraval and swaras got here at ‘Sakala mahidendra’. Overall, it was a lovely providing to the viewers. But if simply to choose nits, one ought to level to a foul break up of phrases, which resulted within the phrase ‘aganita’ (in dasaratha tanayaaganita guna-gana) lacking the ‘a’ and sounding as ‘ganita’, which is the precise reverse what the composer meant to say. Vocalists should take note of these little points too.

Early within the live performance, Priya Sisters sang Tyagaraja’s ‘Darini Telusukonti’ (Suddha Saveri), tailing it with a bouquet of sensible swaras. ‘Chede Buddhimanura (Tyagaraja, Atana) and ‘Sada Chaleswaram’ (Dikshitar, Bhupalam), had been the opposite notable parts of the live performance.

Sai Giridhar (mridangam) and B.S. Purushotham (kanjira) gave percussive help and performed a pleasant thani. Purushotham’s multi-cycle gumkis had been worthy of notice.

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