The talented accompanists aided Aruna's elegant concert.
It is difficult to define the jurisdiction of a composer. Is it essentially music creativity or is it lyric creativity? Vaggeyakaras like Dikshitar are a harmonious blend of both. They could offer music coupled with high flown poetry. That is precisely why their musical compositions have a claim to permanence. Dikshitar’s ‘Balagopala’ in Bhairavi is certainly one such. It is on the deity of Mannargudi. And, Bhairavi, though popular, is at once a scholarly raga. The kriti and the raga demand an element of maturity.
Though young, N.S. Aruna presented the kriti elegantly after an expansive alapana, covering all three sthayis and every contour. The niraval and swaras at ‘Neela Neerada Sareera’ were wide-ranging. Sraddha Ravindran, another youngster on the violin produced some masterly phrases both in alapana and swaras. The thani by G. Krithivasan, young disciple of Thanjavur Ramadoss, was awesome.
Aruna commenced her concert with Papanasam Sivan’s Sriranjani piece, ‘Gajavadana,’ followed by kalpanaswaras. Her Mayamalavagowla exposition and the rendering of Swati Tirunal’s masterpiece, ‘Deva Deva Kalayaamithe’ in Rupakam were attractive. This kriti used to be a specialty of Semmangudi. The Purvikalyani elucidation was also striking. Sraddha’s alapana was brilliant. Nilakanta Sivan’s ‘Ananda Natamaduvar,’ was a fine presentation by the promising trio. The kalpanaswaras at the not-so-easy ‘Natamatuvar’ (atheetham) were well crafted.
Papanasam Sivan’s ‘Idathu Padham Thookki’ in Khamas was a neat rendition. It has a catchy thisra nadai from charanam. N.S. Aruna concluded her short, but matured recital with a Tamil devotional on Tirupati kshetra. Undoubtedly, the three gifted and sharp youngsters have a bright future.