Niranjana exhibited perfect diction in rendering the sahitya.
Niranjana's concert had to start behind schedule since the violinist did not turn up for the concert and an alternative had to be arranged. However, she had to begin alone with just the mridangam as accompaniment.
Lalgudi Jayaraman's varnam in Charukesi ‘Innum En Manam Ariyadavar Pola' in Niranjana's strong voice was a confident start. After a brief sketch of Bahudhari, she presented Tyagaraja's ‘Brova Bharama' and the short swarams even without the violin accompaniment, glided through the phrases.
The Atana alapana was average without any special sancharas. Dikshitar's ‘Sri Vaidyanatham' followed, during which the substitute violinist joined the concert. Ammangudi Ramnarayanan was competing with the loud voice of Niranjana through his strokes with a stress on the vibrating tone on his mridangam, which was not very pleasing to the ears.
The main raga Simhendramadhayamam was presented in the typical style of D.K. Pattammal School. Niranjana presented ‘Rama Rama Guna Seema' of Swati Tirunal with sowkhyam. The niraval at ‘Muni Manasa' and the swaraprastaras again reminded the listeners of the popular vocalists of the DKP/DKJ school.
The thani by Ramnarayanan was pleasant and crisp. A predictable ‘Eppadi Paadinaro' in Karnataka Devagandhari and ‘Narajanma Bandaga', the Purandaradasar devarnama in Basant were the post-thani pieces.
The concert concluded with Narayana Tirtha's composition ‘Govardhana Giridhara' in Darbari Kanada.
Niranjana's concert was well-structured and she exhibited perfect diction in rendering the sahityas. But she tries to adopt the mannerism as well the singing style of her guru Lalitha Sivakumar and Nithyasree Mahadevan of the same school, throughout the concert that leaves her sans originality.