Technique and finesse were the hallmarks of Bombay Jayashri’s recital
There are various styles and inspirations in performances, and the ideal technique of Bombay Jayashri is to use her mellifluous voice to draw out the dormant aesthetics of a raga in delineation and of a song in interpretation.
This aspect was evident during the special concert at Meenakshi College, where Sri Bharati Tirtha of Sringeri Math was camping.
In her two alapanas of Kalyani (‘Kamalaambaam-Bhajare’) and Khambodi (‘Maa-Janaki’), Bombay Jayashri used her soothing voice to impart repose with liveliness and to create a warm ambience.
These two vinyasas portrayed the special relationship between sensitivity and subtlety that made the presentation classic.
There were seamless sancharas in alapanas, each revealing different aesthetic shades with her technique providing enough melodic space for creativity.
Fit and finish qualities were hallmarks of her recital.
The song list contained: ‘Darini-Telusukonti’ (Suddha Saveri), ‘Tatva-Maria-Tarama’ (Sriranjani) ‘Sakala-Graha Bala-Neene’ (Atana) and ‘Sarade-Karunanidhe’ (Hamir Kalyani, a composition of Sri Chandrasekhara Bharati).
Each song represented its unique identity, the dulcet tonal expression conferring a soft touch on the sahityas and their clarity.
In the management of the many sangatis in the Suddha Saveri song, ‘Darini-Telusukonti,’ the voice had finesse.
What called for rapt attention was the exquisite movement wrapping up the raga delineation and monumental song interpretation. Throughout the concert, her voice was mellow without being fragile.
She put all imaginative inputs in her technique. There was much to be said of the way she programmed the concert.
Rajeev (violin), Sumesh. Narayanan (mridangam) and Nerkundram Sankar (ganjira) were the accompanists. Their support was neither vigorous nor disturbing.