Vocal Bhushany's elaboration of Mohanam was lively. H. Ramakrishnan

W ords fail to explain the rendition of Sri Raga that Bhushany Kalyanaraman brought to life. That is the index of her vidwat - a rare combination of musical erudition and performing ability. The piece she chose was ‘Naamakusumamula.'

The artist's emotive and soul-stirring presentation reminded one of her guru GNB. The alapana on the violin by Kalyani Shankar was immaculate.

The piece-de-resistance of the morning concert was ‘Nannu Paalimpa' of the Saint in a celestial Mohanam, which lends itself for extensive elaboration and exploration. She made optimum use of this wide scope. The lively alapana was simply exquisite.

Kalyani exposition was also equally charming. The niraval at ‘Karamuna Sara Kothanda' was the very definition of Mohanam.

The graceful swaras were spontaneous. The thani offered by A.S. Ranganathan (mridangam) and Nerkunam Shankar (ganjira) was short and rhythmically sweet. The misra nadai and korvais therein were splendid.

Uniquely structured

Bhushany Kalyanaraman opened her concert with the popular Nattakurinji varnam, followed by a GNB kriti, ‘Varavallabha Ramana' in lilting Hamsadhwani. In Lalitha, she presented an enjoyable alapana and Syama Sastri's masterpiece, ‘Nannubrovu Lalitha.' The kriti is uniquely structured in misra chapu with Pallavi at atheetham. The kalpanaswaras were at the pallavi itself. Achutha Dasar's immortal piece, ‘Sadaananda Thaandavam' in Bahudari went off extremely well.

She also presented ‘Thirumuruga' in Yaman Kalyani, a composition of her guru, Thanjavur Kalyanaraman, a highly acclaimed senior vocalist and an eminent student of GNB. Bhushany Kalyanaraman concluded her sparkling concert with Pundaradasar's ‘Jagadodharana' and the pleasing Brindavani thillana of Kalyanaraman.

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