Recital Practice was evident in Gayathri Bharath's rendition of kritis. H. Ramakrishnan
A s far as Nadamuni Gayathri Bharath is concerned, who left her lucrative job in Australia to carve a niche for herself in the field of music, the passion certainly seems to be accompanied by incessant practice. This was evident in her presentation of an expansive Khambodi. If the elucidation was impressive, the rendering of Papanasam Sivan's ‘Kaana Kan Kodi Vendum' was powerful. Gayathri's niraval at the usual ‘Maanikyam Vairam' was precise. C.K. Vijayaraghavan, grandson and disciple of the legendary Chitoor Gopalakrishnan, produced a few wonderful phrases in alapana, niraval and kalpanaswaras. The thani presented by A.V. Manikandan had a few vibrant and intricate rhythmic patterns. He is a disciple of Guru Karaikudi Mani.
Gayathri, granddaughter of the composer Kumaramangalam R. Srinivasaraghavan, a contemporary and friend of GNB, commenced her concert with the immortal ‘Sri Rajamathangi' varnam of Harikesanallur Muthaiah Bhagavatar in Suddha Dhanyasi. It was followed by an Oothukkadu kriti, ‘Ananda Narthana Ganapathim' in a cadenced Nattai.
The swaras at ‘Paramananda, Paramam Paramananda,' etc,. were beautiful. After an expansive alapana of Nasikabhooshani, she rendered the Koteeswara Iyer piece, ‘Thandarul Ayya' in misra chapu (Atheetham). It was immaculate. Arunachala Kavirayar's ‘Ramanukku Mannan' in Hindolam also came out well.
Ranjani alapana and ‘Durmaargachara' of Tyagaraja were rendered with charm and care.
Vijayaraghavan too brought out a few appealing sangatis. Dikshitar's ‘Nandagopala' in Yaman Kalyani was also an outstanding rendition. She wound up her impressive concert with a galloping ‘Kudire Bandhide' of Sri Vadiraja. Unquestionably, a bright future awaits her in her voyage in the world of music.