From the start of the concert, with the Surutti varnam ‘Ento Prema’ till last ‘Telisenura’ in Saveri, the atmosphere was electrifying.
With a pleasant approach and a voice that is both expressive and resonating, Aiswarya Vidya Raghunath sang like a seasoned artist. She sang for the Sri Radhakrishna Sankeerthana Samajam Trust at Raga Sudha Hall.
That Aiswarya enjoys singing was evident, and with excellent support from R. Raghul on the violin, Delhi Sairam on the mridangam and S. Krishnan on the ghatam, the concert turned out to be a treat for the audience.
However, the clarity of lyrics was absent while singing the padam. With more experience and maturity, she should be able to internalise the music learnt in different styles, and present in her own style.
Tyagaraja’s ‘Sobhillu Saptaswara’ in Jaganmohini was breezy without slackening of pace. The elaborate Sriranjani raga alapana was full of bhava and the neraval and crisp kalpanaswaras at ‘Dari Nerigi’ of the kriti ‘Marubalka’ which was rendered liltingly, was enjoyable. It was like vintage wine.
Full of bhavaThe essence of Devagandhari which was presented in a nutshell, was followed by a beautiful rendition of Gopalakrishna Bharathi’s ‘Enneramum Undan Sannidhiyil.’ ‘Sri Kanta Niyeda’ in Bhavapriya, sung in a fast tempo, acted as a good filler before Aiswarya took up raga alapana of Begada, which was developed well. Raghul played a soulful version of the raga, and his earlier raga essays and rejoinders to the neraval and swaram were praiseworthy.
A fine rendition of ‘Nadopasana’ with elaborate neraval and swaras at ‘Tantri Laya Swara’ was well handled and was devoid of padachedam.
Sairam and Krishnan were perfect accompanists giving full support, and their arudis were good. The tani was brisk and enjoyable.
The turn out of genuine rasikas for this concert was quite impressive and they encouraged the artists by applauding at the right moments.
