An erudite presentation by Sumitra Vasudev

Sumitra displayed a wide choice of kritis and brilliant raga portrayals

Sumithra Vasudev

In the very opening Bhairavi varnam (Pachimiriyam Adiappayya – Ata Talam), Sumitra Vasudev solidly demonstrated her scholarship and talent, sticking to its original expanded version in her guru R. Vedavalli’s footsteps. This version has an extra charanam swaram — Pa Da Ni Sa Ri Ga Ma — and a concluding sahityam segment ‘Chiruchema Taluraga,’ ending with the pallavi, and not with the usual charanam.

Gifted with a pleasing voice, Sumitra could bring out the charm of each piece and she exuded confidence throughout.

After an extensive, yet contemplative alapana in Karaharapriya, Sumitra chose Tyagaraja’s ‘Soumitri Bhagyame Bhagyamu,’ as the main piece, commencing with the anupallavi. Sumitra’s niraval and swaraprastara were set on the charanam, ‘Baguga Vinta’. Dynamic swaras were exchanged between her and the violinist R.K. Shriramkumar, who has made a mark as a leading accompanist. His skill in anticipation is worthy of emulation.

Enjoyable thani

When K. Arunprakash is on the mridangam, rasikas can anticipate an unexpected thani. He mesmerised listeners with his gentle rhythm in a keezhkala (slow pace) Misra Nadai, followed with Misra Kuraippu. Arun Prakash used his subdued playing skills well, enriching every kriti. During the thani, Anirudh Atreya’s responses on the kanjira were excellent and whenever he joined the kritis, he added musical vigour.

Sumitra rendered Arunachala Kavi’s Rama Natakam Kriti ‘Saranam Saranam’ (Sowrashtram – Misra Chapu), with swarams at ‘Sankara Abhayam’. This was followed by a brief yet brilliant essay of Harikamboji for Tyagaraja’s ‘Enduku Nirdaya’. Patnam Subramanya Iyer’s ‘Marivere Dikkevarayya Rama’ in a lilting Shanmukhapriya was rendered with punch. Niraval and swaras at ‘Sannutanga Sri Venkatesa’ added lustre to the piece.

The 18th century composer, Mazhavai Chidambara Bharathi, has several enchanting kritis to his credit. Sumitra rendered his ‘Karunai Thanthu Ennai Alamma’ (Begada-Misra Chapu), which has a unique structure, well. Dikshitar’s ‘Ehi Annapurne’ (Punnagavarali) and Gopalakrishna Bharathi’s ‘Etho Theriyamal Poachuthe’ (Hamir Kalyani – Rupakam) were sung in a pensive mood. Purandaradasa’s ‘Dasara Nindisa Beda’ in Thilang was neatly done. After a short virutham in Saveri, Sama, Sindhu Bhairavi and Behag, Sumitra wound up her delightful recital with the Tiruppavai, ‘Orutthi Maganai Pirandu.’