Commencing a concert with Abogi varnam gives a lilt to the performance. It was no different that evening when Vijayalakshmi Subramaniam was featured in a vocal concert held in memory of Alathur Brothers at Narada Gana Sabha Mini Hall.
The Brothers had dominated the Carnatic music scene at one point and were known for their authentic patantharam of kritis of the Trinity and also their kannku vazhakku. R. Krishnaswamy, secretary, Narada Gana Sabha, and vidhushi Jayalakshmi Santhanam highlighted these and other aspects of the Brothers' music.
The varnam was followed by 'Raa Rama' (Asaveri-Adi-Tyagaraja) that passed muster. Then Vijayalakshmi took up Kalyani and unhurriedly developed the raga, not leaving any stone unturned midway. It was a good effort and vishranthi was the hallmark of this attempt.
Violinist scores
Akkarai Subbulakshmi did full justice to the reputation she has earned in a short time as one of the most sought after violin accompanists in the concert circuit. Her reply was replete with carefully etched phrases. 'Amma Ravamma' (Kanda Chapu-Tyagaraja) was the kriti. Alathur Brothers were well known for their rendition of this kriti where Tyagaraja extols the characteristics of Tulsi. An extensive niraval in the anucharanam 'Tamarasadalanaythri', and the kalpanaswaras were marked by precision.
Mridangam artist Neyveli Skandasubramanian's contribution in the company of Tiruchi Murali (ghatam) to these segments were noteworthy.
'Enthara' (Harikhambodi-Adi-Tyagaraja) preceded the Saveri raga that was part of the RTP suite. Vijayalakshmi appeared exhausted in the second phase of the raga alapana. Akkarai's elaboration was well nurtured.
The tanam though too long was a shade better. The pallavi ('Kari Moralida Leda Hare Krishna') set in Misra Nadai Adi Talam with eduppu after two aksharas was part of Alathur Brothers' repertoire which they used to render with real vigour.
The tani avartanam saw both the rhythm artists involved in lively exchanges with interesting nadais befitting the pallavi.
