Veena Suri needs to hone her presentation skills. K.R. Subramanian’s was a poised presentation on the flute.

Veena Suri’s vocal concert, featured by Upasana at the Ramar Koil, Coimbatore, reflected the discipline that shaped her understanding of musical values. But due to her lack of presentation skills her concert did not have an impact on the rasikas despite her melodious voice.

She began with the Hamsadhwani kriti, ‘Vatapi Ganapthim.’ The speedy and stormy swaras though confidently delivered had no grip over rhythm. Her brief raga sketches of Purvikalyani for the kriti ‘Gnanamosagarada’ and Abhogi for the kriti, ‘Sri Lakshmivaraham’ were marred by swara discords in the upper reaches. Though the kritis were enjoyable the sugary coat was missing. The Dasar padams and the tail-end pieces were enjoyable in an otherwise lackadaisical recital. Gifted with a powerful and melodious voice the young and promising artist will go places by honing her skills.

Violin accompaniment of Guruvayurappan was intelligent and pleasing. Young Amrit’s vibrant beats on the tabla stole the hearts of the listeners in the thani with Radhakrishnan’s mridangam.

Elegant and serene

The melodious blow of the bansuri in K.R. Subramanian’s flute concert was pleasant for the rasikas on the following day of the Upasana fest.

His sprightly start of the kutcheri with the Saveri varnam ‘Sarasooda,’ followed by ‘Gurulekha’ in Gowrimanohari rendered with sanctity set the tenor of the session. His poised presentation of ‘Evarani’ (Nagachinthamani) and ‘Theliyaleru Rama’ (Dhenuka) were elegant, serene and tranquil.

‘Annapurne’ (Saama) and ‘Venkatachalanilayam’ (Sindhubhairavi) were demonstrative of his penchant for aesthetic overtones at the interpretative level.

The flautist’s raga vinyasams of Purvikalyani for the kriti, ‘Gnanamosagarada,’ Sahana for the kriti, ‘Vandanamu’ and Bhairavi for the kriti, ‘Yaro Ivar Yaro’ were graceful and fluent bringing out the lyrical beauty of the ragas.

The raga contours highlighted a blend of versatile creativity and arresting images, with Amritha Murali’s violin keeping pace. In her solo versions she was striking and immaculate.

Arun Prakash (mridangam) was upbeat in his thani. His refreshing sound pattern was in tune with the mood of the main artist.