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Manodharma dominates the performance

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UPLIFTING: Bombay Jayashree performing in Madurai.
UPLIFTING: Bombay Jayashree performing in Madurai.

Rajalakshmi Padmanabhan

Bombay Jayashree journeys inward to explore gentle nuances of music

MADURAI: Manodharma dominated the performance on the sixth day of the ongoing music festival at Lakshmi Sundaram Hall on Wednesday, as Bombay Jayashree journeyed inward to explore the gentle nuances of music.

Eyes closed in concentration, the artiste made introspective expeditions while the audience waited expectantly for her to exhibit her highly acclaimed talent. It was worth the wait, for Jayashree sang with faultless sruti scanning the three octaves expertly.

Her prowess was nowhere more obvious than in the ragam thanam pallavi.

She created the mood of the raga exquisitely but the melody permeated the thanam too and rhythm took a side step in most of the phrases. She took up the challenge of the pallavi with confidence and skill.

Earlier, she had substituted the conventional varnam with a supplication to Vinayaga as her first offering (Sri Mooladara Chakra Vinayaga in Sri Ragam). However, she succeeded in uplifting the atmosphere with a brisk essay in Kapi Narayani with the song Sarasa sama dana. The other songs that made the audience sit up were Azhaga, in Suddha Dhanyasi, and the introductory phrases to the song Devaki than kula kozhunde.

Casts a spell

Her alapana in Karaharapriya was unrehearsed and unpretentious. It was here that the rasikas enjoyed the innovative sangathis that flowed spontaneously in her well-controlled voice. Her exposition of the devotional pieces was peaceful and slow. The Meera bhajan, Gopala Govinda, has been sung at a faster phase by the artiste herself on earlier occasions. Her rendering of Devaki than kula kozhunde was more emotional than energetic, but cast a spell on the audience nevertheless.

Serious approach

Jayashree’s approach all through the concert was very serious and made her long-term fans wish that she would use her gnana and keen aesthetic grasp of bhava and raga to entertain as well as educate the rasikas.

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