Sumithra Nitin has to be congratulated on choosing chowka kala passages for her alapanas. The beautifully rendered Bhairavi alapana had long notes comprising primarily of unhurried sancharas.
She has a good reach in the upper octave. At the same time, the impact of her singing is not felt much since her voice sounds feeble at times and that results in slips in the sruti. Dikshitar’s not so often heard kriti, ‘Devi Jagadeeswari’ with niraval at “Maha Deva Mohite Mamava Lalite Varade,” was enjoyable.
The niraval, with the upper sthayi sancharas falling well, was suffused with raga bhava. Achyuta Dasar’s ‘Ramam Ghanashyamam’ in Mohanam preceded by a slokam was a good filler before she embarked on the main ragam Rishabapriya. Though elaborate with gradual progression, the alapana was not free flowing. Koteeswara Iyer’s Gananaya Desika with niraval at “Shadja Rishabhapriya...” was rendered well. The kalpanaswaram though limited, had excellent teermanam.
The violinist B.K. Raghu’s raga essay of Bhairavi was fine matching that of the vocalist. He played a neat, well rounded Rishabapriya. The mridangist A.S.N. Swamy played an interesting thani.
Sumitra started her concert with the Hamsadhwani varnam Pagavari, and proceeded to sing Swarna Venkatesa Dikshitar’s ‘Sivathraya Mahaganapathim’ in Nattai, and Tyagaraja’s ‘Gattiganu’ in Begada. The kalpanaswarams for both fell short of expectations.
The concert concluded with Arasi’s composition, ‘Chinnakkayai Virithennidam’ preceded by a viruttam in Khamas and Karnataka Devagandhari, and Ambujam Krishna’s ‘Paadaayo’ in Nadanamakriya tuned by Anantalakshmi Sadagopan.
