A homework well-done before a stage presentation gives an artist the required confidence for the performance and K. Dharini's concert is a proof for this.
The dasaragamalika varnam ‘Inta Kopamelara' of Veena Kuppier set a strong base for the concert. Purandaradasa's ‘Charanu Janakana' in Bilahari followed. The chittaswaras in the varnam and the crisp swara phrases rendered in the second piece put her in a comfortable zone of swarasthana nischayam for the rest of the concert. The alapana in Natakapriya went on to display her strength in swarsthanas. She presented the raga without any trace of Thodi or Kokilapriya. Innovative phrases came out from Jayanthi Kesav's violin and gave the concert a lift at this stage.
‘Iti Samayamu Brovarada' composed by Mysore Vasudevachar was a good choice. However for a one and a half hour's concert and in the afternoon session, a long sub-major piece in such ragas makes the concert heavy for the listeners.
‘Paraloka Sadhana Me Manasa' of Tyagaraja in Purvikalyani rendered in a brisk pace was a relief and the platform got ready for the main item again.
Dharini, a disciple of Sulochana Pattabhiraman now undergoing advanced training with R. Vedavalli has a husky, but strong and malleable voice. She is more comfortable at the madhya and tara sthayis than the mandara sthayi.
Rakti ragas like Khambhodi, taken as the main item for the day, sound more pleasing in the mandara sthayi sancharas. However, Dharini's bold and sure phrases could offset the need for the lower sthayi phrases to some extent.
Tyagaraja's ‘O Rangasayee' featured next. The kalpanaswaram brought out the creativity of the artists, both of the vocalist and the violinist.
Madurai B. Sundar gave a soothing mridangam support for the concert. He followed the vocalist well in the swarams presented in tisra nadai during the main item. He was at his best in the thani, in which he presented interesting rhythmic patterns with a brilliant sense of timing.
Dharini took up Subramania Bharati's lines ‘Yamarinda Mozhigalilae Tamizhmozhiyai Pol' for the viruttam in ragamalika. Beginning with Saveri, she sang the lines in Shanmukhapriya, Mohanam and ended with Madhyamavathi. The stress on the words ‘Thamizhosai' and ‘Thamizh Muzhakkam' in the stanza drew a round of applause for Dharini.
