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Savita Narasimhan - Internalization
02 January, 2015

Savita Narasimhan’s concert presented at the Music Academy made it a pleasant evening that came after Christmas day. The whole concert had a gait caused by songs that were more vilambit in their category, that at once were able to bring out the quintessence of the ragas and communicate a mood that could serve to smoothen the mind. Special mention needs to be made of the song Amba Neelayadakshi in Nilambari of Muthuswamy Dishithar. Here the lyrics merge, mesh with the raga and as you delve more and more into the krithi and the raga’s abundance, various contours, all its many facets depicting its grandeur would get revealed to you. Savita showed that she had internalized the song and gave it all she could to make it shine. There was always an amazing clarity in all her rendering here and elsewhere.

Savita’s other songs were Kannulara in Dhanyasi (Walajapet Venkatramana Bhagavathar), Raksha Pettare in Bhairavi and Anupama Gunambudhi (both Thyagaraja Krithis). The first one, Kannulara, had a competent neraval and was followed by swaras at the line “Nama Kirthanamu Seyuchu”, but Raksha Pettare had only the swara segment. All this made evident her experience on the concert platform - the structure, planning and allocation of time that goes with it. As is the custom at The Music Academy, Savita presented a Ragam Thanam Pallavi in Poorvikalyani that had the pallavi line as “Veenagaana Gamakakriye Sucharithe Sulalithe Sulabhe” in Khanda Jathi Thriputa thalam. It was embellished towards the end with a ragamalika in Ranjani, Sahana, Behag and Begada.

Smt.Charulatha Ramanujam on the violin was an admirable foil to Savita and she too seemed to savour the Nilambari song and her playing could be seen as an enhancement to the effect the song was bound to create. Her alapana of Bhairavi spelt class and carried with it graceful presentation of prayogas.

Sri MLN Raju, one of the senior most mridangists in the field, made mental assessments of the songs and played with sustained brilliance. Sri Chandramouli on the Khanjira discharged his function as an upapakkavadyam artiste in an adequate manner. The laya team’s playing too had a telling/touching effect on the Nilambari song.

It is strange but true that Savita with remarkable cutcheri strength and depth in vidwat is left to perform only at a couple of places during this season.

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