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| Wednesday, 1 September 2004 |
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La Sanda Paya highlights Damayanthi's zest for singing by E.M.G. Edirisinghe Over three decades of dedication to singing that moved the listeners came to life once again at the John de Silva Memorial Theatre when La Sanda Paya was launched. Damayanthi Jayasooriya, the vocalist with a mellifluous voice released her third compact disc after her first two Hiruta Muwawen and Avaraye Pipi which enjoyed an appreciative response from the listeners over the years. Damayanthi was the winner of the award for the best singer (Female) at the Presidential Film Awards ceremony held in 1994.
As a vocalist of tender youth in the late 60s she beat the horizon of music in the children's programme of the then Radio Ceylon. The distance she travelled since that consecration is stretched with wide strides in the world of music to take her to what she is today. As a vocalist she is not restricted to a particular segment but had crossed over to a multiplicity of lyrical compositions that gave her voice a resounding musical tone. She charms the compositions with a cluster of rich feelings whether they are woven around nature, love or religion. Stored in a compact disc is La Sanda Paya, a collection of vocal renderings that irresistibly betroths the listener to a mellifluous flow of songs with varying modulations of diversity and depth. The compositions transmit in metrical and thematic variations turning out easily pliable recitals for aesthetic consumption of the audience. Two ballads loaded with meaningful metaphor which she had strung to her rendering repertoire, are resonant of folk allurement enriched by bewitching melody and lyrical harmony. Weeping mother Their poetic grace is augmented by her resounding lively delivery giving total emphasis to divergent nuances. Le Kiri Powa Ethi Dedi Kala is one such ballad which reverberates lamentation of a house-maid who had been thrust in a desert thousands of miles away from her home and children. Damayanthi comprehensively picks up the ballad its rhythm and the folk idiom which are ideal to capture the expressions of a weeping mother with withering heart. She views the comfort and luxury she enjoys there with disdain and dismay. Damayanthi sings her best giving it a totality of effect. In this majestic mansion of aline heathens My heart is aflame like a volcano In an eulogy to the universal motherhood sung in praise of ingrained traits of love, care and affection to the child she bears, Damayanthi sinks into a depth full of feeling in graceful gestures of enchantment. Maternal love that you were always showered with If that is forgotten its calamitous for entire humanity Her innate vocal music raises the song itself to a height of joy for the listener. Her voice is music giving a fuller effect to what is rendered in lyrics. In her ode to a friend the song Hada Davalu - Gini Nivalu, she brings life to a heart that is desolate and dejected. The melody that brings the rhythm as well as the metaphor resonant with the inner feelings enshrined in it, is of all songs the most mellifluous and enjoyable to listen. Inspiration A ditty in short simple composition inspirited by Damayanthi reflects her capacity to switch on from end to end and in between, to get absorbed in a multiplicity of nuances and rhythms woven in simple elegant words swelled with connotation and emotion, and woven into rhyming verbal and meaning in poetic unity. That is how it mingles in the visual sprouting in the imagination of the listener and is brightened to Madahas Wesse Siripoda Nagena (bathed in the drops of smiles of rain). Similarly, her ode to the lass in a jewellery-shop in Chetty Street is exhilarating. In the song Ridee Raththaran Ipadunu Hetti Veediye (Chetty street at which gold and silver is minted) she invites her to step out of the shop and enjoy the beauty of Colombo bathed in simmering moonlight. Magema Keherali (My own wisps of hair - How surprising to see - Disobedient to me). Annoyed by unruly wisps of hair which cannot be tamed as one wishes, but heeds only the orders of blowing and swings in the direction the wind desires it though hair is one's own and is nursed and cared for by him alone. Similarly one is swayed and swung by a single word a phrase of a poet even if one does not follow the path of the poet. Such is the force and persuasion of poetry that turns and moulds into songs in the vocal frame of the vocalist. Thatu aga katu wela ipida (Shaped into thorns on branches - to protect the flowers of the world - How much of blame we bear - Brother, the flower is ignorant). Protection Thorn is for protection of the flower from its enemies, the role assigned to the thorn. But, everyone who blames the thorn for hurting those who come to rob it either to make garlands or offerings or for pleasure. However, for doing that the thorn is thanklessly scorned. Despite being heart-broken, it does its duty to protect the flower for-ever. Another admirable rendition is the song with great absorption is the one on solitude. Mululowa senahee hindina wele A lover defeated in the first love is lovelorn and demented over his failure. A superb piece of musical work that melody, lyric and recital mix with each other in equal grace to create a medley of pleasure. Lastly, (I am the maid-servant of God - offered my youth unblemished at the altar in devotion deep). It is a devotional song reflecting the sacrifice of immaculate youthfulness of a young lass at the altar of God wishing for a place in heaven in the name of religious beliefs. Once Damayanthi senses the latent thematic vigour and charm in whatever lyrics offered to her and she sings it in a mood of perceptible Zeal where her soul embraces it leaving nothing for imagination. Those apart, the songs such as Puthuge muhuna ada anduru (son's murky face, today), sara sandai tharu kinithiy (autumn moon and the clusters of stars) and Wala kulata muwa wela (hiding behind the clouds) stand out as effectual renderings with accompaniment to heighten their sensuous impact on the listener. With Kamal Addaraarachchi and her son Nuwan Nyanajith Kumara as supporting vocalists in duets, she has reached a height in her career as never before. Music for these songs were directed by a team of veteran musicians in the local scene such as Rohana Weerasinghe, Dr. Lionel Algama, Nawarathna Gamage, Senarath Wickramsinghe and H.M. Jayawardene. The lyrics were written by Bandula Kariyawasam, Ven. Rambukkana Siddhartha, Prof. Sunil Aryarathne, Samudra Weththasinghe, Preethi Randeniya and Ananda Weerakoon. No doubt that the compact disc into which several sweet fresh songs were packed into, would bring in an abundance of intellectual delight and joy. **** Back **** |
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