Chitra Bilwam sang under the auspices of Shri Krishna Ganasabha, Mysore. Vittala Rangan (violin), P.S. Shridhar (mridanga) and V.S. Ramesh (morsing) accompanied the singer. Concert commenced with a varna of Lalgudi Jayaraman, “Nive Gatiyani Niratamu”, which the singer treated with devotional fervour.
The singer's vocal capabilities are fortified by melodic inflections, and an element of boldness is in readiness to display her scholarship. Its gamut fully supported her expressions. With these features, the concert to a considerable extent, proved appealing and pleasing.
She had planned the concert carefully to include compositions of lyrical significance and sentimental warmth. In this respect, consider presentations like “Birana Varalichchi Brovumu” (Kalyani) of Shyama Shastri and “Baalagopala Paalaya Aashu Maam” (Bhairavi) of Dikshithar. A comparison between these two presentations would help to mark the artiste's merits, at the same time to point a few shortcomings.
Alapana in Kalyani was methodical, and shone with subtlety in articulation and delineation. Melodious rendering and imaginative evolvement made it wholeheartedly acceptable. Her vocal abilities in matters of resiliency could span over the required three sthayis with ease, retaining its timbre.
A neraval at the charana, Shyamakrishna Sodari was in tune with the general mood, which reached its consummation in the swarakalpana section that followed. In all the above levels young violinist excelled both in imagination and dexterity. He delicately maintained the propriety of the concert, and artistically established his extempore, admirably framing the personalities of the ragas on hand. Purity of notes that emanated, and the smoothness and continuity in his bowing, did ample justice to the passages.
It was much different in “Baalagopala” of Dikshithar. Alapana in Bhairavi could not match itself with that of Kalyani, particularly in the process of bringing to the fore the nuances of the raga; It was as if the raga was built more on the scale rather than on its inherent mood.
Moreover, deficiency in pauses undermined a smooth flow of strains. She could have advantageously reduced the exposition in the higher octaves, which appeared superfluous. In these areas, the violinist's approach was distinct in striking a contrast.
As the above composition was the focus of the concert, it comprised a neraval at the anupallavi (“Neela Neerada Sharira”) followed by the kalpanaswaras terminating in a detailed tani avarthana (interesting and attractive). The percussionists' lyrics-oriented approach arriving at attractive cadences drew favourable attention of the audience.
Concert included highlights like “Jaya Jaya Jaya Janaki” (sung in Naata- Purandaradasa), “Sadhinchene” (Arabhi – Thyagaraja), “Palukuthe Nelatalli” (Karnataka Devagandhari - Annamacharya) and so on.
