A strong tone and delivery of manodharma elements with clarity and conviction marked Varalakshmi Anand Kumar’s vocal recital for Nada Inbam. ‘Gam Ganapathe’ (Hamsadhwani) was enlivened by leisurely, well thought out kalpanaswara episodes in kizhkala and brisk melkala swaras that sought to capture effect. The Pantuvarali alapanas sound construct offered contrasting motifs of jarus and brigas at the panchama and shadja suites.

Viewed in its entirety, the exposition was based on the ideals of proportion and adhered to convention rather than seeking the exceptional. ˜Visalakshi Visveshi’ (Muthuswami Dikshitar) featured niraval patterns that established a smooth connect between exploratory passages that effortlessly skimmed registers an aspect warranting special mention. Swarakalpana cruised easily to different eduppus.

There was breadth and vision in Varalakshmi’s interpretation of the main raga, Kambhoji. Serenity pervaded the sojourn at the panchama and dhaivatha as vistara blossomed, fanning fragrance with each phrase. Snippets, instead of the expected exhaustive strands were the preferred mode when it came to brigas, creating interesting links. The artist forged ahead with the Tyagaraja kriti ‘Sri Raghuvara’ and vigorous kalpanaswaras that culminated in a neatly executed tani avartanam by Ramkumar (mridangam), in which nadais were effectively juxtaposed. Padma Shankar(violin) responded with an empathetic Kambhoji delineation and her support was a source of strength to the vocalist.