C Sukanya has assimilated the assets needed for a good concert from her father, the late DKJ. These include an engaging kalapramana, neat rendition of kritis and clear enunciation of lyric. However she needs to augment other aspects – musical intensity, bhava and tonal subtleties that govern emotive flights.
Sukanya's concert was on a steady train from her Malayamarutham song, ‘Smarane Onde' (Purandaradasa). Raga alapana of Harikhambodi (‘Muruga Thirumal Maruga', Thanjavur Sankara Iyer) was rendered well with DKJ's definition of that raga swaroopa that stays clear of any Khambodi collision.
The manipravalam song ‘Sree Abhayamba' in Sri Ragam was sung with good vibes.
Kamavardhani was uneventful with vantage swaras (like nishadam and rishabam (tara)) not fully exploited as Sukanya employed a heavy briga suite.
Dikshitar's ‘Visalakshim' in misrachapu was refreshing and Sukanya rendered it strongly, with the characteristic azhutham of the DKJ school and some flashes in the niraval at ‘Kasi Rajnim Kapalinim.'
Violin accompaniment by R. Sathish Kumar was pleasing and intelligent while the same cannot be said of Neyveli Ramkumar (mridangam).
H. Sivaramakrishnan on the ghatam was supportive. Those in charge of the acoustics in the Hall would do well to tone down the decibel level.
