With a voice that has an in-built protection against the hazards of stridency and high decibel levels and her expository technique providing space for creativity, Bombay Jayasri’s performance for Sri Thyaga Brahma Gana Sabha, showcasedher intuitive and melodic approach to Carnatic music. Her approach to music hinged on piety.
Jayasri’s alapana plan was designed to highlight mellifluousness and the rakti aesthetics. Her versatile vocal range and gentle oscillation lent richness to the ragas. Her faith lay in revealing the nuances of a raga with consummate tonal tenderness. This process helped her capture scintillating moments.
Jayasri absorbed the depth and devotional content of the kritis and presented it before the audience which enhanced the listening experience. Thus each kirtana she rendered gained classicism. This special quality imparted deep contemplation. The raga-kirtana handling sprang from persuasive gentleness. There are various styles and inspirations in performances, but Jayasri’s ideal was outstanding, adding elegance to her musicality.
Jayasri’s Bilahari raga vinyasa was gorgeous and poised. The sancharas covered the octaves with ease and geniality. This aspect gave exclusivity to her style. Following such a presentation, the sangati-studded song ‘Naa Jeevadara’ conferred the right sparkle to the interpretation. The rendering of the kirtana was remarkable for the sheer precision in rolling out sangatis and ensured refinement and pleasure.
If the Bilahari piece was grandiloquent, the Kalyanavasantham song ‘Nada Loludai’ and ‘Inta Sowkhya Manine’ (Kapi) set a high benchmark for sweetness of voice, melodic influence and serenity because they were rendered with swaranubhava.
The concert began with an alapana of Charukesi followed by ‘Aada Modi Galade.’ Often accompanying Jayasri, violinist Embar Kannan could read her mind precisely and play accordingly. His playing was distinct and marked his progress and maturity.
V. V. Ramamurthy (mridangam) and Anirudh Atreya (ganjira) took charge of the laya aspects with a professional approach. The influence of the kriti ‘Naa Jeevadara’ after which the tani began, carried the same sprightly pace.
In her concert for Sri Krishna Gana Sabha , once again Jayasri proved that she is a singer whose distinct style is based on graceful exposition. Her singing carries joy and peace. She relied on on mellowness that illumined every aspect of her exposition lending an emotive dimension.
Her technique combined dignity and gentleness that helped her gain a vision of the intangible image of a raga or kirtana. She depicted ragas with pervasive excellence and communicated the majesty of songs.
Jayasri’s musical maturity was guided by a sweet voice. The first item ‘Vandanamu Raghunandana’ (Sahana) revealed her mood on that day -- contemplation which was reflected in her soulful expressions. It was a marvellous blend of the tonal idiom and simple, classic stature of the song.
The rendering of the Ananda Bhairavi kirtana, ‘O! Jagadamba’ was all consuming, unerringly spotting the areas of enchantment suggestive of the sublime.
Her first alapana effort was Subhapantuvarali (‘Ennaalu Urage’); pitching her voice in the right areas, her sancharas were smooth and captured every nuance. Attention to raga tala and articulation of the sahitya paid rich dividends.
The Khambodi raga and the song ‘Maa Janaki’ formed the main and perhaps the most exuberant part of the concert. The compact raga that contained sparkling sancharas, was stunning.
It was not raga frames but vinyasa that was impressively sharp, polished with refined touches. The regal alapana, song and niraval sounded like a well-composed symphony.
H.N. Baskar, in his solo session, revealed what would go well with the vocalist. His violin play was robust, carefully guiding the raga sancharas.
V.V. Ramamurthy (mridangam) and Anirudh Atreya (ganjira) were impeccable in their percussive support.
