Good rendering of songs and pertinent raga alapanas formed the core of Jayashree Vaidyanathan’s recital at Sri Krishna Gana Sabha. Her articulation of sahityas was precise, the supple voice showcasing her instinctive talent.
Even at the very start, Jayashree’s Ritigowla raga essay and the kriti ‘Cheraraava’ set the evening’s programme off on a healthy rhythm. The musical process in the selection and movement of the Ritigowla sancharas was full of poise. Her insight into the raga’s spirit raised the quality of the recital.
Similarly the Purvikalyani vistara (‘Meenakshi Memudam’) revealed the artist’s commitment to classical aspects of exposition. The alapana was well worked out, the phrasings properly integrated with vocal modulation. In presenting the image of Purvikalyani, the madhyama and tarastayi negotiations smoothly covered the salient facets of the raga.
The other well-sung numbers were ‘Mohanakara Muthukumara’ (a Koteeswara Iyer composition in Neetimati) ‘Sarasadala Nayana’ (Khamas) and ‘Sobillu Saptaswara’ (Jaganmohini).
The accompanist on the violin was B. Ananthakrishnan, who pursued his beat that hardly went with the plan of the vocalist. Guru Raghavendra (mridangam) and D. V. Venkatasubramanian (ghatam) were at their modest best.
Keywords: Jayashree Vaidyanathan