Unlike many young vocalists of today, who have a penchant for singing in higher ranges, Aditya Prakash chose to sing in the lower ones which was quite appealing. The clarity in his ‘akara’ singing is also noteworthy.
He began his recital with ‘Rama Nannubrovara’ in Harikhambodi embellishing it with swaras for ‘Mepulakai’.
‘Santhanaramaswaminam’ in Hindolavasantham came next. The alapana of Charukesi grabbed attention; he avoided many of the clichéd prayogams too.
The swaras were at ‘Mataladamodi’ with ‘atheetha eduppu’ without faltering. The violin support by Arun Ramamurthy was quite significant.
After ‘Nivadanegana’ in Saranga came the main item, Kharaharapriya prefixing ‘Rama Ni Samanamevaru’; the alapana and the swaras for the charanam line ‘Paluku Paluku’ by both the artists were worthy of appreciation.
After the thani by N.C. Bharadwaj, who was very supportive through the concert, the final item was ‘Kelathi Brahmande’ in Sindubhairavi.