Aishwarya's recital had Swati Tirunal and Kshetrajna. R. REVATHI

Aishwarya Vidya Raghunath is equally adept at handling fast and slow paced numbers. This was evident in her presentation of the Mukhari raga kriti Karu baru seya (Tyagaraja) in chowka kala, the fast items ‘Ika naina na' in Pushpalatika (Tirupati Narayanaswamy) and ‘Anupama gunambudhi' in Atana (Tyagaraja).

Grounding herself firm with perfectly aligned sruti right from the Begada varnam, Aishwarya presented a variety of composers in her concert. ‘Palayama mayi po' in Khamas by Swati Tirunal was breezy before the fairly elaborate Mukhari alapana.

A quick and majestic Atana kriti followed and then she landed in the main raga Varali. The raga improvisation marked by lengthy karvais as well as brisk akaras without compromising the melody reflected the artist's manodharma.

She chose ‘Eti janmamidi' of Tyagaraja for the evening. The niraval in the lines beginning with ‘Satileni…' in charanam in slow and madhyama kalas brought out the beauty of the raga and the sahitya. The kalpana swaras in the medium tempo was apt for the composition set in misra chapu.

In his tani session, Delhi Sairam quickly moved to a brisk pace. This contrast to the slow and medium tempo kriti was really needed to sustain the attention of the rasikas. The consistent kala pramana was appreciable.

Aishwarya has a voice that is not heavy and tends to go shrill in the upper octaves. She limited the occasions of touching the tara sthayi madhyama and panchama which is good for her. But she should try to be more audible in the mandara sthayi prayogams.

Violinist Ranjani Ramakrishnan provided impeccable support. Understanding the vocalist's range, she did not attempt to reach the upper sthayis frequently and that made the rendition easy on the ear. Her exploratory skills were evident during the kalpana swara segments both in the swift Pushpalatika kriti and the leisurely Varali number.

Aishwarya accommodated two padams – ‘Smara sundaruguni sari evvare' of Dharmapuri Subbarayar in the raga Paras and ‘Mosamaya' of Kshetrajna in Ahiri – rendering both with the inherent aesthetic beauty of this genre. The less heard Jonpuri kriti of Swati Tirunal composition ‘Sa Pashyat Kausalya' was robust and full of life.