The Thiruvananthapuram edition of the Akashvani Sangeeth Sammelan 2010 had two impressive concerts in store for music lovers – a flute recital by T.R Srinath and a vocal concert by Saraswathi Vidyardhi.
Srinath's methodical presentation had him breathing life into each note, raga and composition. The flautist flagged off the concert with the Dikshitar kriti ‘Gananayaka'. The characteristic flavour of Poornashadjam raga was savoured by all during a brisk run through the swarams. The Ranjini raga rendition that followed was classic, as the flautist extracted the finer essence of the scale through ornamental phrases. The dextrous finger control of the artiste was spell-binding during the fast Adi tala kriti, ‘Raka shashivadanam' in raga Takka; a janya raga of Mayamalavagowla.
Exploring a raga
The delineation of Madhyamavathi raga testified the flautist's penchant for exploring a raga to its fullest. Violinist Nalina Mohan sustained the mood throughout the build-up of the raga.
The Syama Sastri composition ‘Palimsu Kamakshi', chosen as the main, was played methodically.
An analytical construction of swaram passages led the way to a good taniavarthanam by K.U. Jayachandra Rao on the mridangam and A.S.N Swami on the ganjira.
A cute composition about Udupi Krishna in Behag and ‘Govardhana Giridhara' in Darbari Kanada were played specially for the audience.
Dr. Saraswathi's singing was reminiscent of the vintage style, with firm foundation and stately flair. The vocalist began with ‘Sharanagathuni', a varnam in Reethigowla. The upbeat tempo in the charanam added vigour. The elegance of Nattakurinji in the Dikshitar kriti ‘Parvathikumaram' set to Roopaka was enhanced with special swarajathis. There was an perceptible change in the mood of the concert when the vocalist took up Subhapanthuvarali and Gowlipanth. Although the flurry of sangathis during the rendition was spontaneous, it ebbed the emotional temper of the raga. She gave a full-throated rendition of the fast-paced ‘Samukhana' in Kokilavarali.
The vocalist's meditative mode of singing painted a beautiful Kamboji. Tagged to it was the main song ‘Mari Mari' – a Mysore Vasudevachar kriti set to Adi tala. K. Charulatha Ramanujam on the violin was splendid. Kuzhalmannam G. Ramakrishnan was brilliant on the mridangam, and M. Dayananda Mohite on the ghatam and C.P. Vyasa Vittala on the ganjira gave ample support.
‘Bhajanam Cheyyum Krishnapadam' in Bagesree was sung with devotional fervour. Dr. Saraswathy wound up with an evocative thillana in Ahir Bhairav, composed by M. Balamuralikrishna.
