Azhutham when judiciously proportioned in a vocal concert enables the rasikas to enjoy the aesthetics of refined music. Sukham in Carnatic music calls for a superior quality of perception in an artist and the listener. In every raga and song an abundance of rakti is present. If a vocalist awakens this in raga portrayals and the songs, there is charm. If there is tranquillity in music, it gets marked by dignity.
The finer aspects of raga and sahitya take hold of the performer and this was the feeling of this reviewer in the vocal recital of Gayathri Venkatraghavan featured by the Retirement community of Vedantha near Kinathukadavu on the outskirts of Coimbatore.
Tranquil interpretation
Warming up with ‘Gajananayutham’ in Chakravaham with swaras, the vocalist’s tranquil interpretation of ‘Sreeman Narayana’ (Bowli) following next with tapering cadences brought out an aesthetic twist at the finish that made the raga glowing. In her Sankarabharanam raga delineation for the kriti, ‘Sri Dakshinamurthe’ with swaras, one could see her capacity to modulate her open-throated expression with subtle karvais and negotiating fast phrasings in the thara sthayi. Her picturisation of Pantuvarali for the kriti, ‘Ennagaanu Rama Bhajana’ with an exuberant niraval brought out the gentleness of the raga. Her upper octave phrasings of Mohanam for the kriti, ‘Nannupalimpa’ and breathtaking subtleties of gananaya were in view. Her telling sancharas laced with artistic finesse were manna to the ears.
Gayathri’s package included songs such as ‘Hariharaputhram’ (Vasantha), ‘Sree Sankara Guruvaram’ and ‘Muruga Muruga.’ The tukkadas towards the end were enjoyable. Srikanth (violin) was able to follow the raga contours laid out by Gayathri with ease and his cooperation was wholesome in raga versions and swara sallies. Manoj Siva (mridangam) and Srikanth Sreeram (ghatam) were a picture of bonhomie providing perfect rhythm at the right decibel. In sum, it was an enjoyable kutcheri.
