Vocal Raji Gopalakrishnan's alapana, raga vinyasa and brigas revealed her depth of involvement. T.K. Ganapathy
Clarity of diction and adherence to sruti characterised the music recital of Raji Gopalakrishnan featured by Rajalakshmi Fine Arts, Coimbatore.
The refined and well-balanced kutcheri began with the ‘Viribhoni' varnam in two speeds. This was followed by ‘Saraseeruhasanapriye' in Nattai with swaras.
The vocalist imparted delicacy in the articulation of the sahithya and depth in the structure of the kriti.
The Abhogi alapana for the kriti, ‘Sabhapathikku' and the raga vinyasam of Surutti for the kriti, ‘Sree Venkatagireesam Asraye' with no rain of exhibitionist brigas revealed her depth of involvement.
The delineation of Dharmavathi for the kriti, ‘Parandamavathi Jayathi' with niraval and swaras was negotiated with perseverance in the upper reach segments.
In her own composition of the pallavi – ‘Brindavanasaranganai Pani Maname' for the RTP in Brindavanasaranga with well-crafted sancharas, in Saranga, Desh, Valaji and Revathi, she endued a breath of freshness to the whole exercise.
Anuroop (violin) followed the vocalist like a shadow with perfect comprehension giving impressive replies in the raga exposition and swaras.
The percussionists – Mani (mridangam) and Srijit (ghatam) embellished the compositions and swaras with right touches of exuberance and subtlety.