N.J. Nandini chose different composers and talas to lend variety to her recital.
The plus point of N.J. Nandini’s singing is her sruthi suddham. There is pin-point precision in the way her voice traverses from the lower to higher notes.
Nandini chose Papanasam Sivan’s ‘Janakipathe’ in Kharaharapriya and followed it with Tyagaraja’s ‘Nenarunchara’ in Simhavahini with a spate of kalpanaswaras.
An attractive exposition of Shanmukhapriya paved the way for Patnam Subramanya Iyer’s ‘Marivere Dikkevarayya.’ The niraval at ‘Sannuthangasri’ had interesting patterns and crisp swaraprastharas followed.
The mridangam player R. Akshay Ram has to be commended for his consistent playing, in accordance with the song and the tala structure.
If there was visranthi in the way Dikshitar’s ‘Sri Ramam Ravikulabdhi Somam’ in Narayana Gowla was rendered, the next song, ‘Atu Karadani’ in Manoranjani was fast paced.
The raga alapana of Thodi, the main raga, was well rounded and presented with its panchama varja prayogams intact. Typical Parur style of raga alapana could be discerned in the playing of Parur M. S. Ananthakrishnan, the violinist. Earlier he played a pleasing Shanmukhapriya. The song chosen was Tyagaraja’s ‘Dachukovalena set to Misra Jhampa talam. However, for niraval, the entire last charanam, from ‘Nemamuga’ to ‘Balkithe’, had to be taken up, which was very lengthy.
Nandini, with her facile voice, was at her best in the niraval segment and one felt that swaraprasthara could have been better. Here again, the mridangam player was excellent in his support and played a beautiful thani.
Swati Tirunal’s Manipravala padam, ‘Aliveni Endu Cheyvu’ in Kurinji was rendered with emotion. ‘Saagara Sayana Vibho’ in Bagesri, a beautiful composition by M.D. Ramanathan, was another beauty.
A smooth rendition of Bharatiar’s ‘Chiinnanchiru kiliye’ was followed by Lalgudi Jayaraman’s Desh thillana. The artist should be commended for her planning to include songs in varied talas, and by as many composers as possible.