Vani R. Bhat's recital revealed competence and devotion
Vani R. Bhat sang under the auspices of Ganabharathi, Mysore, accompanied by Thandavamurthy (violin) and Vadiraj (mridanga). The singer's dedication in presenting the compositions in the true spirit of music (devotion) was one of the factors that attracted the audience. Another factor was the clarity in diction.
In spite of the above plus points, a degree of diffidence to a certain extent attenuated the desired vigour (with respect to both voice and progressions) that would have elevated the concert to convincing heights.
An overview of the concert distinctly revealed her competence in elaborating the ragas, than the much-needed fluency in embellishing the compositions on hand. For example, take “Paahi Jagajjanani” (Vachaspati – Swathi Tirunal).
This was the focus of the concert, naturally demanding extensive elaborations in all the stages of the developments.
The singer minutely elicited the mood of Vachaspati, and meaningfully presented the lyrics. H
owever, neraval at “Mohanataragaatri” (anupallavi) was brief and as such, the beauty of the text fell short of reasonable tuneful representation, though the movements were meaningful and pleasing. It was more or less the same with the swarakalpana section. Young Vadiraj's proficiency in tani aavarthana was beyond his age. The programme was in memory of the less-known great scholar and versatile musician Chakrakodi Narayana Shastri (disciple of Devendrappa), who was proficient in singing and playing many musical instruments (a special characteristic feature of luminary musicians of Mysore). Contextually, the singer presented a couple his compositions – “Bhajamaanasa Shri Govindam” (Kalyanavasantha) and “Mangalakara Shri Ramana” (Hindola – in praise of Ramana Maharshi), both composed in Sanskrit. Both the vocalist and the violinist expatiated Kalyanavasantha melodiously, enriching it by infusing the expected mood.
Compositions like “Vageeshwari Vaani Saraswathi” (Saraswathi — Muthayya Bhagavathar), “Shrivalli Deva Senapathe” (Natabhairavi- Papanasham Shivan – interestingly drawn alapana), “Janaki Ramana” (Kaapi —Vanamali Jeer Swami), “Hari Kunida Namma Hari Kunida” (Brindavanasaranga – Purandaradasa), “Entha Punya Entha Bhagya” (Vasantha), “Anjaneya Amaravandita” (Vadiraja -Desh) and many more constituted the concert.
Keywords: Vani R. Bhat