Bhavyalakshmi Saji’s vocal recital in Palakkad had both plus and minus points. The positive features were her mellifluous voice with an enviable range, erudition and excellent rapport with accompanists. The concert was, however, marred by the absence of judicious planning, non-adherence to concert tradition, inappropriate selections and lack of sahitya bhava. She should have paid more attention to diction, delivery and sruti.
The vocalist began impressively with the varnam ‘Saranaagatha Valsale’ in Sarasaangi, composed by her guru Thrissur Rajendran. The second item ‘Sree Mahaganapathe’ in Gambheeranatta, another creation of her guru, was well rendered with appealing kalpanaswaras. Choosing ragas such as Naatakapriya and Vijayasaraswathi in the early phase of the concert were not prudent and Thanjavur Sankara Iyer’s ‘Geetha Vaadya Natanapriye’ in the former raga and Muthaiah Bhagavathar’s ‘Saranam Vijaya’ in the latter one failed to click.
The alapana of Kalyani, interspersed with fine sangatis and akaaras, brought out the raga bhava. But it could have been elaborated in greater detail. While the less heard Tyagaraja kriti ‘Aevaramadugudura’ was a good choice, it was surprising that the vocalist did not attempt any niraval or swaraprasthara for which there was a lot of scope. The rendition of ‘Nannuvidachi’ in Reethigowla, a Tyagaraja composition, was prosaic, but devoid of bhava. Hamasanaadam received expansive treatment; the gradual development of the raga was praiseworthy. The sangatis leading to shadjam’ in the middle octave were particularly delightful. Here too, she chose an unknown kriti.
Tygaraja's ‘Varaalandu Kommani’ in Gurjari was an apt interlude before the main item. The delineation of Vaagadeeswari, the main raga of the evening was elegant, with the raga swaroopa emerging beautifully. Tyagaraja’s famous kriti in this raga ‘Paramaatmudu’ was well portrayed, with imaginative swaraprastharas. Bhavyalakshmi rounded off the concert with ‘Enadumanam,’ a composition by Paapanaasam Sivan in Harikambodhi.
The accompanists were at their best. The concert gained some strength, thanks to their wonderful support. Manjoor Ranjith(violin) impressed with his delectable raga versions and kalpanaswaras . Cherthala G. Krishakumar (mridangam) was highly supportive, with a masterly display.
Manjoor Unnikrishnan (ghatam) revealed his artistry in ample measure. Together they produced a brilliant tani, the special feature of which was their playing in kanta gathi. The concert, organised by the Palghat Fine Arts Society, was at the society’s auditorium at Tharekkad.
