There is an emerging tribe of young artists, who, from the word go, make it abundantly clear that they are committed to substance-driven content. Vocalist Brinda Manickavasagam belongs to this tribe. Supported by Shraddha Ravindran (violin) and Ranjani Venkatesh (mridangam), hers was an all-woman team that made a mark.
Brinda constructed a solid Dhanyasi edifice with time-honoured pidis. A comprehensive bhava-rich raga portrait emerged, ably complemented by Shraddha’s earnest essay. Precious minutes ticked past as Ranjani took her time to ensure pitch-perfect mridangam tuning. But the wait was well worth the effort as the percussionist bolstered ‘Maayuranadham Anisam’ (Muthuswami Dikshitar) with decisive sollus. Kalpanaswaras extracted raga essence. Solidity of patanthara was further evident in the standalone ‘Arulvai Angayarkanniye’ (Dharmavathi, Dhandapani Desikar) wherein chiselled sangathis impressed.
Mapping the contours of an expansive Madhyamavathi, the main raga, Brinda began with a well-navigated mandra sthayi and shadja-panchama suite that led to a sustained sojourn at the panchama.
Tara sthayi shadja karvais showed off the artist’s resonant voice to advantage, while the concluding summation placed on record an easy reach in the mandra sthayi. In her solo, the violinist brought in a different perspective, without detracting from the mood created. Syama Sastri’s ‘Palinchu Kamakshi’ that achieved an ideal kalapramana, was an aural treat which stood out for remarkable clarity of diction – the kind that enables a first-time listener to jot down the sahitya on the spot. Free-flowing niraval in two kalas and kizh kala kalpanaswara kuraippu at the panchama with a couple of tisram outings which segued into melkala swara topped by a compact korvai wrapped up the central piece.
‘Naamoraalakimpa’(Devagandhari, Tyagaraja) which preceded Dhanyasi and a Sahana-Hindolam-Surutti ragamalika virutham which heralded ‘Adidum Arase’ (Surutti), sung with involvement, were among the other compositions rendered.
A noteworthy precision and grip on sollus distinguished Ranjani’s tani avartanam, the tisra gati permutations drawing much appreciation.
Clean lines, azhutham and an affinity for the weightier elements of classicism strengthened a balanced presentation in which musical maturity complemented youthful energy.
