S. Ramya made an impact.

A neat presentation of the Papanasam Sivan kriti ‘Maramanan' in Hindolam (Rupaka talam) preceded by raga alapana marked the concert of S. Ramya. Her voice has mobility and easy reach in the higher octaves. A little restraint seemed necessary in the raga alapana.

Initially, Ramya presented Sri raga varnam ‘Sami Ninnekori' in two speeds. The slip in the charana swara should have been avoided.

Next in the list were Annamayya's ‘Vandeham Jagat Vallabham' in Hamsadhwani (kanda chapu) with kalpanaswara and ‘Palimparavadelara' of Pallavi Sesha Iyer in Arabhi (tisra nadai adi). Since this song already has a lengthy chittaswaram, kalpanaswara sounded unnecessary.

A brisk rendition of ‘Malmaruga Shanmukha' in Vasantha was followed by an elaborate and imaginative rendition of Simhendramadhyamam.

Violinst Neela Jayakumar who was supportive throughout, played a good raga essay. The song chosen was Mysore Vasudevachar's ‘Ninne Nammithinayya' (misra chapu) with niraval and swaras at ‘Pannagendra Sayana.'

It was refreshing to hear more chowka kala swarams. The songs included had a variety of talams and an assortment of composers.

The thani avartanam presented by mridangist Jayakumar was short and good.

The concert ended with ‘Neelavanil Oru Muzhu Nilavu' preceded by a ragamalika passage in Chandrakauns, Atana, Bagesri and a thillana. Temple concerts have both an advantage (in the form of the crowd) and a disadvantage (background noise).

There was also power failure when Ramya was singing the thillana.