Gayathri Venkataraghavan’s concert was well-conceived and neatly executed. The choice of ragas and compositions, their rendition alongwith the essential features and equal participation of the supporting artistes exuded a professional touch.
The majestic ‘Sakthi Ganapathim Bhajeham’ in Nattai by Harikesanallur Muthiah Bhagavatar with an exquisite chittaswaram and a brief swarakalpana gave a good start. A short sketch of Kalyani led to ‘Kanindarul purindal’ by Papanasam Sivan on the Mylapore deity Karpagambal. This kriti too was embellished with a few strands of swara exchanges.
Gayathri took up Valaji employing soft and slow phrases followed with spiralling akaras resting on lengthy karvais. Thus bringing out the beauty of the raga. It was again Sivan’s composition on Kapali; ‘Paadame thunai Paramasiva.’ The niraval and swara sallies between Gayathri and violinist Mysore Srikanth at ‘Sangeethame muzhangum’ received the appreciation of the audience.
Muthuswami Dikshitar’s ‘Sri Mathrubootham’ in Kannada paved the way for the main raga Kharaharapriya. The raga was developed slowly with poignant phrases and pauses that portrayed the depth and elegance of the raga. This was a perfect prelude to the Tyagaraja kriti ‘Chakkani raja.’ After the soulful rendition of the kriti, Gayathri set out for an elaborate niraval at ‘Kantiki sundara.’
The musical exchanges between her and the violinist offered a rich aural treat. A dynamic swaraprasthara led to the grand finale. The whole treatise segued into a remarkable tani avartanam by Neyveli Narayanan and K.V. Gopalakrishnan on the mridangam and the ganjira respectively.
The final part of the concert carried some interesting inclusions — ‘Aarabimanam’ by Tarangambadi Panchanada Iyer with a host of ragas. She moved swiftly from one to another, the chittaswarams seamlessly linking them. ‘Jayajayahe Bhagavati’ in Saraswati; ‘Angai kodumalar thoovi,’ a Thayumanavar song popularised by MS Subbulakshmi; and ‘Sagara sayana vibho’ in Bhagesri were the other additions.
The whole concert was a sincere offering by Gayathri Venkataraghavan and her team. While Mysore Srikanth raised to every occasion and presented competent repartees in raga essays and niraval-swara sections, Neyveli Narayanan on the mridangam and K.V. Gopalakrishnan on the ganjira made their presence felt without indulging in any overplay.
