Swathi's swara-prastaras underlined her manodharma.
R. Swathi began her concert with the varnam ‘Sarasooda' in Saveri. She displayed her vocal prowess and control over laya in the first number. ‘Sarasiruhasanapriye' in Nattai, composed by Puliyur Doraiswamy Iyer came in after a slokam presented in the viruttam format.
Swati's raga alapana of Anandabhairavi had a clear version of the raga and no traces of the allied ragas could be heard. In contrast, the violinist Shraddha mixed tints of Ritigowla and Mukhari, in her solo session. Syama Sastri's ‘Himachala Tanaya' was presented well.
The briskly presented kriti, ‘Sri Ranganatham Upasmahe' of Muthuswamy Dikshitar in Poornachandrika gave an upward trend to the concert. Swathi's alapana for Kalyani was enjoyable but had a few gaps, which she filled up with repeat phrases.
A lack of response from the violinist could be felt. But Shraddha did her solo alapana well both in the slow and fast paces. There is a responsibility for the accompanists to add value and wholesomeness to the singing of the main artist and the young team has to train in this area as they grow up.
Swathi rendered ‘Nammi Vachina' of Tyagaraja's Kovur Pancharatna set of krits, exhibiting the good patanthara. The swaraprastharas diplayed her manodharma explicitely. Adambakkam Arvind presented a lively thani avartanam for the main item in Rupaka talam.
A disciple of Thirupoonthuruthi Venkatesan and Chingleput Ranganathan, Swathi then presented a Narayana Tirtha's tarangam ‘Govindamiha' in Bhagesri and concluded her recital with Tiruppavai, ‘Oruthi Maganai' in Behag.