Sugantha Kalamegam revealed the full beauty of Shanmukhapriya in her RTP. The sancharas in the lower octaves registered well and she did full justice to the rendition of tanam strictly maintaining the speed also.
Sugantha Kalamegam’s forte is raga alapana. This was evident in her exposition of Purvikalyani, Sankarabharanam and Shanmukhapriya. Her choice of kritis were also interesting. ‘Paraloka Sadhaname Manasa’ was her choice in Purvikalyani, rendered with a few avartanams of kalpanaswaram.
She commenced her concert with Begada varnam, ‘Intachalamu,’ followed by ‘Deva Deva Kalayami’ in Mayamalavagowla with niraval and swaram at ‘Jatarupa Nibhacela’ and Tyagaraja’s ‘Ra Ra, Ma Inti’ in Asaveri. Dikshitar’s ‘Sri Ramam Ravikulabhdi Somam’ in Narayanagowla preceeded Sankarabharanam, wherein she once again showed her penchant for raga alapana. ‘Manasuvadina’ with niraval and swaraprastara at ‘Tanuvutanu’ were enjoyable. Dr R. Hemalatha (violin) gave a neat essay of the raga and fitting replies to niraval and swaram.
Yet another surprise choice of song came in the form of Dikshitar’s ‘Muraharena’ in Suddha Mukhari before embarking on Shanmukhapriya RTP. The beauty of the ragam was brought out really well. The sancharas in lower octaves registered well. She did full justice to the rendition of tanam strictly maintaining the speed also. The pallavi line ‘Kannanai Manivannanai’ set to kanta jati triputa talam was expanded very well with classy ragamalika swaram in Atana, Mohanam and Kanada besides Shanmukhapriya. The raga essays by the violinist, especially the tiny bit of Mohanam were enjoyable. Mannarkoil J. Balaji was good with his mridangam as an accompanist, and proved his mettle in the thani. The tukkadas included an Ashtapathi, Lalita Lavanga and ‘Bruhi Mukundeti.’