Vocalist Malini Hariharan’s erudite performance created a tranquil mood.
Malini Hariharan’s concert in Thrissur, organised in connection with the Sree Swathi Thirunal Music Festival, took off with ‘Vande Sada Padmanabham’ composed in raga Navarasakannada and set to Adi tala. This was followed by ‘Smaramanasa Padmanabha Charanam’ in Darbar and Roopakam that was appended with swaras in doublets. Violinist D. Sunitha, a disciple of virtuoso V.V. Subrahmaniam, was near perfection for the mukthayippus.
‘Bhavaye Sarasanabham’ in Keeravani and Adi had an alapana mentioning three ranges with essential phrases of the raga. The vocalist was accompanied by S. Sharmila (vocal support), Trivandrum M. Balasubrahmaniam on the mridangam, Perukavu P.L. Sudheer on the ghatam and Kalamandalam K. Shaiju on the morsing. Towards the end, Balasubramaniam played a comparatively long ‘theerumanam’, which confused rasikas, as they were unable to distinguish it from the tani.
The chittaswaram for ‘Paramapurusham’ in Lalithapanchamam was unusual, which, when asked, Malini said was popularised by Trichur V. Ramachandran. The composition is in Khanda Chapu. She chose the raga Vachaspathi for elaboration. The textual delineation saw a gradual lifting of the phrases to the higher octave and was serene all the way. The improvisations for ‘Pahi Jagajjanani’, Adi, were at ‘Mohanadaragathri…’ with three strips of niravals and swaras in crotchets and quavers.
‘Kalakantigatham’, set to music in Neelamabari and Chaputala, was in a much slower tempo. Malini's additions to tukkadas were ‘Namasudharasam’ in Kapi, Adi (a bhajan from Maharaja’s Ajamilopakhyanam), ‘Aye Giridhar’ (a Hindustani composition in Miya ki thodi), and ‘Alarsaraparithapam’ in Surutti, Misra Chapu. Among the percussionists, it was Sudheer who stole the show with his fingering and runs on the ghatam. The curtain fell with ‘Bhujagasayino nama mangalam’ in Yadukulakambhoji, Roopakam. The concert was organised by All India Radio under the joint auspices of Sree Thyagabrahma Sabha.