Bombay Jayasri’s recital at the Kapali Temple on Panguni Festival conveyed an elegantly graceful and enlightening essence of poised sangita. The beauty of her exposition was in handling the oscillation of nada through voice modulation. Her eminent stature rested on the excellent manner in which even minimalised presentation optimised the beauty of a raga or a kirtana.
In the sanchara pattern in alapanas, there was a wide palette of nuances, karvais, cadences and aesthetic nuances. Her manodharma offered ample space for delectable browsing. In song interpretation, sangatis and sahitya clarity gave lift and graciousness.
If serenity of music opened windows to the heart’s craving Bombay Jayasri provided it in the Ahiri song ‘Mayamma’ and the Sankarabharanam alapana and kirtana ‘Enduku Peddala’ while she was singing them. There was also an inner experience of music’s quiet and deep silence. These significant and distinguishing qualities marked the milestones in her musical evolution.
While rendering the two kirtanas external expression was there but what was abiding was the hold of cultural sensitivity. It was an impeccable and graceful bow to the specific beauties of the compositions’ elevating musical core. This aspect can be gained only by swanubhava. ‘Subramanyena’ (Suddha Dhanyasi) was another item.
The Ahiri song set a high benchmark for the following Sankarabharanam raga. Tenderly finesse and accentuated subtle nuances contributed to their richness, a method too deep for superficial appreciation.
‘Enduku Peddala’ is a piece of deep contemplation and the emotionally challenging task was to get a feel of it which Bombay Jayasri’s idealism grasped with ease. It was a picturesque portrait of the kirtana’s expanse. The two items together consolidated the several factors that make music exquisite. In her music tonality and form stretched to melodic vitality.
In music styling is as important as singing and Bombay Jayasri combined both to make her concert impressive and enviable. In Bombay Jayasri’s technique sweetness of tone played second fiddle to her concert idealism.
She also sang a ragam tanam pallavi in Ranjani. H.N. Bhaskar was on the violin. In his solo versions refinement and external expression were highly rewarding. The alapana lines were exceptionally clear and well defined contributing to a flawless image of Sankarabharanam.
Manoj Siva (mridangam) and Anirudh Atreya (ganjira) developed a thani dear to the heart of laya-lovers. The solkattus captured vivid images of tala intricacies.
