Mix of melody and wisdom
G. SWAMINATHAN
It was a wholesome treat that Ajay Namboodiri offered.
Photo: R. Shivaji Rao
SWATI TIRUNAL SPECIAL: Ajay Namboodiri.
The musical expression of an artist creates greater impact on the listener if it carries not just the melodic power but the musical wisdom integrated into it. Ajay Namboodiri’s concert for Sarvani Sangeetha Sabha at the Music Academy Mini Hall was unquestionably an event to be cherished. The thematic concert was on the compositions of Maharaja Swati Tirunal.
Swati Tirunal’s kritis are a unique blend of musical mastery and subtle emotion or relaxing breeziness suited to the character of the raga. They fit into any segment of a concert with elegance. So it is not a difficult task for the singer to present the whole programme with the Maharaja’s kritis of varying genres.
Brisk swaras
Ajay Namboodiri started his recital with ‘Deva Deva Kalayami’ in Mayamalavagowla adding a few rounds of kalpanaswara at ‘Jada Roopa Nibha Chela.’ The silky soft ‘Maa Mavasadha Janani’ in Kanada came through as zephyr. Purvikalyani was kaleidoscopic with every phrase flashing colours providing enough majesty to the impeccable ‘Deva Deva Jagadeeswara.’ ‘Paramapurusham’ in Lalitha panchamam came at a spanking pace suffixed with rapid fire swaras.
Nattakurinji, a raga that offers wonderful vistas to explore for a talented artist was the next choice of Namboodiri. It was an awesome essay of Nattakurinji with meaty kaarvais and melting phrases bonded by soft long strains of akaras threaded in the right proportion. Can there be a better composition than ‘Mamavasadha Varade’ for follow-up? It also got extra sheen with a soft and steady shower of swaras.
The raga of the evening Kalyani unfolded in its usual style but with certain unusual and creative phrases. Here too, Ajay employed his skill to embellish most of the phrases with subtle nuances adding extra gloss and intra-strength to the proceedings. ‘Pankaja Lochana,’ the composition, followed a steady course concluding through a captivating, full fledged niraval and swaras on ‘Brindavanathaka Vivitha Sukha Vihara.’
For the wholesome treat, the dessert served were the choices in Desh (‘Chaliye’) and Sindubhairavi (‘Visweswara’). Ajay Namboodiri prefers the path of presenting the internalised music with strong import on aesthetics and melody. With the result, even strident shots of niraval or a fast tracking of swaras do not hurt the listener as these are cushioned with soft and smooth voice modulation.
All these favourable aspects made one forget the minor perceptible quivers in his voice during start-up which faded completely with the progress of the concert and Ajay acquiring complete control on his tonal variations.
V.V. Ravi fully comprehending the form of Ajay recipr
