Vocal Gayatri seemed to have realised that adherence to the rule will help her move up the music ladder.
The performance of K. Gayatri, replete with sensitive predictability, was full of melodic certainties. She brought dignity to her exposition but not sufficiently matched by depth. Her voice needs much strengthening which would impart liveliness. There was nothing patented in her technique.
She elaborated two ragas – Mukhari and Purvikalyani- of which sanchara repertoire flowed with consummate skill in the latter. Mukhari moved on conventional familiarity. The solo versions of both at the hands of violinist Usha Rajagopal left much to be desired.
Gayatri has the talent to touch greatness, but has to equip herself more soundly to hold it. As it is, she has built a solid base and consistency. Natural talent is important, but more sadhaka matters even more.
The Purvikalyani alapana was sung with pleasing karvais and fluency and the kirtana ‘Meenakshi Memudam’ and the niraval pattern for the line ‘Madura Puri Nilaye’ were immaculately interpreted. Speedy passages are always one of the attractions of young artists, but Gayatri was not tempted. All she was concerned about was the smoothness of musical felicity. As the sancharas were knit together, Purvikalyani emerged with a beauteous face.
The Mukhari kirtana ‘Entanine’ – was well showcased with reposefulness. In the handling of both the items ‘Entanine’ and ‘Meenakshi Memudam’ she revealed that she was aware of the truth that adherence to values formed the building blocks to rise in the field.
The concert was set in course with the Harikhambodi song ‘Dinamani Vamsa.’ Overall, Gayatri’s recital was composed with poised restraint. Trivandrum Vaidyanatha (mridangam) and N. Rajaraman (ghatam) adapted well to the basic pattern of Gayatri’s musical approach.