Suguna Varadhachari took care to include a variety of talas, besides dazzling raga essays.
Simhendramadhyamam is a raga that evokes deep devotion. It has its own exclusive lakshanas. Suguna Varadhachari structured the raga essay step by step and built an edifice that was harmonious and dazzling. She literally took the audience along with her to every nook and corner of that huge citadel. Every note sang Simhendramadhyamam.
Obviously inspired by the vocalist's creative delineation, Charulatha Ramanujam etched an equally enthralling alapana.
The song Suguna Varadhachari chose was the ever-green and magnificent ‘Rama Rama Guna Seema,' of Maharaja Swati Tirunal. The song itself is a cream of classicism and hers was its very quintessence. In the Anupallavi, her creativity touched a new high at ‘Somanana Ghana.' She chose ‘Munimanasa' for niraval and swaras. It was indeed a learning experience. The thani by Thanjavur Subramaniam was appropriate. His Khanta Nadai combinations were decidedly rhythmic.
Saveri was another raga she elaborated on. Bereft of a single repetition in the entire soulful alapana, she literally brought on stage the Athi Devatha of the raga, which evokes karuna (mercy) and Bhakti. Charulatha followed suit in every department of the delineation. ‘Intha Thamasa' of Saint Tyagaraja in Misra Chapu was the chosen kriti.
The extensive and inspired niraval and kalpanaswaras were at ‘Rajiva Lochana,' which is a lilting charana. That is why perhaps she preferred it to the charanam that has the Tyagaraja mudra, ‘Gauravamethi.'
Her Dhanyasi again was the very grammar for that raga. Tyagaraja's ‘Syamasundaranga' in Rupaka tala came out with elegant phrases. She chose ‘Ishta Deivamu,' for a charming niraval and sweet swaraprastara. The audience was treated to a lovely Kokilavarali in Tyagaraja's ‘Samugana.' It is a Janya of Natabhairavi. The aarohanam, avarohanam are: Sa ri ga ri ma pa dha ni dha sa – Sa dha ni dha pa ma ri ga ri sa. The raga bhava came out in ‘Parvathi Kumaram' of Dikshitar, ‘Pahimam Sri' of Ramaswamy Sivan, the Thiruppavai ‘Keechu Keechenru' and the Behag tillana.
She took care to include a variety of talas as well. While she opened the morning concert with Adi Tala Khambhodi varnam, she wound it up with Suguna Purushothaman's ragamalika on Hanuman and Arunachala Kavirayar's ‘Kanavendum Laksham Kanaal,' in Suratti.
Vidya Kalyanaraman offered excellent vocal support throughout and her Revathy in the viruttam was lovely.