Rama Ravi has not only taught her daughter Nanditha Ravi the various aspects of music, but also the unswerving adherence to tradition, solemnity and refinement. Nanditha’s Sankarabharanam showed her deep insight into the grammar and aesthetics of music. Touching all the characteristics of this great raga especially in the high octave, she succeeded in bringing out its essence admirably well. Kovai Chandran on the violin sketched a lovely and masterly alapana. Incidentally, his accompaniment enriched the concert throughout. The kriti chosen was Tyagaraja’s ‘Ethuta Nilichithe.’ The rendering brought out the spirit of the composition: ‘O! Rama, why don’t you appear before me? If you do so, will you lose anything?’ The sangatis at the anupallavi, ‘Nuthuti Vrathaka’ were exquisite. Nanditha rendered lovely kalpanaswaras at the charanam, ‘Dharaana Dorakani’ with a tuneful concluding korvai. If the thani by A.V. Manikandan, a disciple of Guru Karaikudi Mani, was splendid, the misra nadai was simply marvellous.
Another of the Saint’s compositions that she rendered was ‘Paripurna Kaama’ in Purvikalyani (Rupakam). The niraval at ‘Sakedhadhipa’ was expansive and swaras crisp. In ‘Parvatipatim’ (Hamsadhwani), she rendered a few refreshingly sliding swaraprastharas. This is one of the many captivating samashti charana kritis of Dikshitar. Papanasam Sivan’s ‘Sivakama Sundari’ in an appealing Mukhari and Suddhananda Bharati’s ‘Eppadi Padinaro’ were well rendered. She is blessed with an impressively sweet voice and this adds an element of attraction to her music.
Nanditha commenced her recital with the Saveri varnam and concluded it with a Raghavendra bhajan. The unique Brinda school stamp was pronounced during the concert. She deserves a better slot.
(ramakrishnan.h@gmail.com)
