Music Chandrabhanu’s performance enhanced the mood of the ragas she rendered.

Tanikella Chandrabhanu is a graded Carnatic vocalist of AIR and a teacher too. Presently working as a part-time lecturer in Music in Andhra Mahila Sabha college of Fine Arts, Hyderabad, she has given performances all over the country. Her concert last week for Nadabharati in the company of Radhika Srinivasan on violin and P. Srinivasa Gopalan on mridangam at D.D. Colony, Hyderabad revealed her rich learning.

Chandrabhanu gave a traditional opening with accurate and sonorous rendition of Kambhoji Atatalavarnam Sarasijanabha of Swati Tirunal displaying kalapramana and a feel for the raga and then went for Dikshitar’s composition Swaminatha Paripalaya in Nata accentuating its beauty with a detailed swarakalpana displaying good space at the line Paripalaya. Tulasidalamulache a popular number of Thyagaraja in Mayamalavagowla in roopaka talam was good rendition taking up neraval presentation at Sarasiruhapunnaga in two speeds with conviction.

Chandrabhanu chose Andolika to give a taste of her ability in raga build, evoking the mood. The kirtana she chose to present was Raga Sudharasa of Thyagaraja that she presented with a cautious approach to bring out the import of the sahitya. Raga and Swarakalpana were presented in two speeds. However, Kalyani was the first elaborate raga delineation which she presented with an elaborate alapana to bring out its unique beauty. For this Shyama Sastry’s Talli Ninnunera in Viloma Chapu, notable for its two kala neraval at Shyamakrishna Paripalini’ was Chandrabhanu’s choice. The swarakalpana was in two speeds with crisp muktayis. This was followed by Annapoorne Visalakshi in Sama of Dikshitar and Neranunchinanu in Malavi of Thyagaraja a fast number with chittaswaram. This served as curtain raiser for the main melody of the concert Kharaharapriya, for a vilambakala kritana Chakkaniraja Margamu . The raga was presented in detail. And the kriti rendition was again neat with sahitya bhava adding a neraval at the line Kantiki Sundarataramagu Roopame never losing the sahitya flavour and followed it by sarvalaghu swarakalpana with taggimpu in two speeds.

Violinist Radhika too displayed her manodharma in elaboration of ragas and swaraklapana, shadowing the kriti parts. The tani avartanam by Gopalan on mridangam at this stage with three letter space was catchy. His play in general reflected his experience.

Uyyalalugavayya in Neelambari in Kahandachapu and Lalugudi Tillana in Desh concluded her most deserving show.