Varalakshmi Anandkumar gave the essence of Anandabhairavi in a short sketch of the raga which preceded Dikshitar’s Navavaranam ‘Kamalamba Samrakshatu Maam.’ The concert started with Abhogi varnam, ‘Evvari Bodhana’ (with a very fast second speed) and ‘Ganapathe Mahamathe’ in Kalyani with a few avartanams of kalpanaswaram.
A lengthy and decent delineation of raga Bahudari was followed by Tyagaraja’s ‘Brova Barama,’ with lots of single avartana swaraprastaram. Arunachala Kavi’s ‘Ramanukku Mannan’ in Hindolam was a welcome choice after that. Her patantara suddham reminds one of her guru.
The raga alapana of Madhyamavati was the best part of the concert. Varalakshmi has a husky voice which she opened up fully at this stage and the effect was better. Her vidwat shone here in the leisurely way she handled the raga with enough amount of durita kala akara passages of different combinations. The violinist Charulatha Ramanujam gave a good account of Madhyamavati. Syama Sastri’s ‘Palincu Kamakshi’ was presented with ‘Rajadi Rajanmakutitata,’ the last Mudirai charanam, instead of the usual ‘Svanthambulona.’ Niraval and kalpanaswaram at ‘Rajamukhi Syamakrishnanuta’ were involved, with the usual kuraippu amd makutaswaram. The lengthy thani by Ravi M. Ravichandran (from Australia) on the mridangam and G. Ravichandran on the ghatam was energetic. The mridangam could be more subdued while accompanying the main artist.
Sivan’s ‘Kumaran Thal Paninde’ in Yadukula Khambodi and Srimushnam Raja Rao’s beautifully composed tillana in Sindhu Bhairavi were rendered well.
Sastri Hall needs to be spruced up just before the season. The need for an elevator is also felt by the senior citizens who come here regularly to attend the concerts.
