Bhavya Hari’s sweet voice and her soulful rendition of the compositions are sure to earn her brownie points. Nevertheless, her main raga Khambodi would have glowed better had she approached the exercise with a stronger touch and majesty, as the raga demands it, to create a significant impact. Each raga carries an image and identity and that needs to be recognised by the artiste and treat them with extra care. Bhavya’s delivery of Tyagaraja’s kriti ‘O Rangasayee’ carried on with enough impetus. Her niraval on ‘Bhooloka vaikuntam’ and the string of swaras with daivatam as the landing note elevated the overall image of the presentation.
Sumptuous treat
In the earlier segment Bhavya Hari elucidated raga Ramapriya for Patnam Subramania Iyer’s popular ‘Korina varamu.’ The competent raga essay and the extrapolation on ‘Rama manohari’ were systematic. These apart, her concert package also featured the standard Thodi raga varnam ‘Era napai’, Gopalakrishna Bharati’s ‘Kanaka sabhapathikku’ in Atana, Tyagaraja’s ‘Nadadina’ in Janaranjani with a brief raga sketch, Papanasam Sivan’s ‘Matha innum vaada’ in Sriranjani where Bhavya’s bhava-laden rendition was explicit and a brisk Thiruppugazh in Nalinakanti. The last item was the lively thillana of Lalgudi Jayaraman in Rageshree.
Vaibhav Ramani on the violin responded with perfection in ragas and swaras. Nochur Nagaraj and Sivaramakrishnan on the mridangam and the ghatam respectively were quite modest in their playing.
