A welcome change is discernible in the singing style of Sudha Ragunathan -- from racy and tempo driven to sedate vocal manipulation. A high-pressure vocalisation in the tara sthayi gandharam was conspicuously absent, allowing her to move across octaves with ease. The next stage in her musical evolution is in her hands — to put in meditative inputs into her exposition.
The highlight was the volume control of her voice, more soothing to the ear and probably, more satisfying to her. After the Sahana varnam ‘Karunimpa,' the Suryakantam kirtana of Tyagaraja ‘ Muddu Momu Elagu Chelengano' set the gentle pattern. Sudha interpreted the song to create a classic image. From this very first piece, one could see how she was blessed with a beautiful voice.
The programme progressed on these lines with Dikshitar's ‘Sri Lakshmi Varaham' casting a spell of tranquillity. The lilting Atana kriti ‘Bala Kanaka Maya' (‘Ela Nee Dayaradhu') was presented with brilliance. In these songs, the vocal quality provided to the rasikas rich listening experience.
The main item was Thodi (‘Kartikeya Gangeya Gowri Tanaya'). The raga picture was a blend of vintage and contemporary aesthetics with proper accent on moorchana sancharas.
Of course, in briga lacing, a characteristic feature of her style was there but not in profusion. One more aspect would enhance the stature of her concept — cast aside kanakku swaras and take to luminous sarvalaghu.
The concert would have been more impressive if the violin support from Pakkala Ramadas had been a bit more inspiring. His solo version of Thodi was tame and flat. The response to Sudha's mood was lukewarm.
Palladam Ravi on the mridangam played to suit the vocalist's graceful exposition. In the thani, he showcased his prowess.
The morsing player R. Raman showed his presence only in the thani and won the appreciation of the listeners.
