Sarada’s presentation was marked by high quality swarakalpana.

Sri Kartikeya Gana Sabha arranged a Carnatic vocal concert by Mumbai-based Sarada Subramaniam, last week at Sri Gnana Saraswathi Temple hall, Musheerabad to the accompaniment of N.C.Ananatha Krishna (violin) and Mehar Sagar (mridangam).

Sarada opened her concert with an Aditala Varnam in Ranjani of Tiger Varadachari and followed it with Nammamma Sharade in Hamsadhwani of Kanakadasa. She presented the raga in concise form but loaded it with its salient features. The kriti rendition style revealed her focus on sahitya with good expression. In fact it set the mood for the concert. This was followed by Thyagaraja’s popular kirtana Tulasidalamulache in Mayamalavagowla. Her rendition style brought out beauty of the devotional content of the sahitya that was further accentuated by the neraval at the line ‘Sarasiruha Punnaga’ reeling out the names of different flowers Thyagaraja intends to do pooja with. The swarakalpana art too was engrossing.

Sarada then chose a composition of Papanasam Sivan Sarade Veena Vaadana Visarade in Devagandhari and then presented the sub-main number Pakkala Nilabadi in Kharaharapriya. The raga was evolved with leisurely grace, full of concentration for a detailed aalapana. The kriti Prakkala Nilabadi of Thyagaraja was presented with graceful sancharis. Violinist Anantha Krishna in his responses displayed rich manodharma. The Neravu at ‘Tanuvuche vandana’ had a series of melodious sancharas followed by high quality swarakalpana.

Sarada then rendered rare number Shringara Lahari in the raga Neelambari of Lingaraju maintaining perfect tempo before taking up the main piece of the concert, Enduko Nee Manasu in Kalyani of Thyagaraja set to Adi(chowkam) Talam. The detailed delineation of the raga showcased her manodharma. The brigas during the aalapana were timely. The Tani avartanam by Mehar Sagar was a neat exercise. Violinist Anantha Krishna’s responses in Kharaharapriya and Kalyani numbers were especially praiseworthy.