In his concert in the afternoon slot, G. Madhavan showed his potential and strength. He had good control of his flexible voice and sang pacy sancharas in ragas with good volume even at the tara sthayi.
Without much exaggeration, he rendered kirtanas with vocal restraint. He is in a formative stage in concert craft and so there was need for proper programming and planned development of ragas.
The Sankarabharanam alapana (‘Swararaga Sudharasa’) was the main item of the recital. It was built on speedy sancharas, though visranti would have made the the raga sound more impressive. The tonal manipulation at the top octave was well within Madhavan’s grasp without any hint of loudness. That itself was an indication that he laid great value on sweetness and not stridency.
Another noteworthy item was Kharaharapriya vinyasa (‘Sentil Andavan’). He stressed the significant pidis to make a favourable impact.
In both the raga alapanas, Usha Rajagopalan (violinist) stamped her particular style of play with consummate ease. The vocalist and violinist revealed competence that stemmed from the compositional quality of the alapana pattern. The fact that the cutcheri was a poised presentation that Madhavan is endowed with a voice that can take on challenging exercise, raised the hope that he stood a good chance of making it big.
Equally motivated by gentle objective, the mridangam and ganjira players T.R. Sundaresan and Alathur T. Rajaganesh, went hand in hand with Madhavan and Usha Rajagopalan in their laya support.