Lack of opportunities, drive some talented Carnatic classical vocalists to end up giving vocal support at classical dance performances only. Sometimes, this occasional shift proves a blessing in disguise for they have to sing with clarity of expression at times with a bit of animation, matching the import of the lyrical word, abhinaya and swara filled rhythmic jatis and mudras . But when they get back to Carnatic classical concert when an opportunity is given, this experience stands in good stead in presenting the numbers with greater impact, with grammar and classicism. I. Swetha Prasad is a case in point. Her vocal concert for Vijayanagar Fine Arts, last week, entertained the audience with her soulful melody and classical fervour. This was arranged at Sri Lakshmi Ganapathi temple, sabha's venue in Vijayanagar colony.
Swetha is the disciple of renowned violinist, Neti Srirama Sarma, a veteran in this field. She and her accompanists Kolanka Saikumar on violin, I. V. Renuka Prasad on mridangam and Sridharachari on ghatam are all graded artistes of All India Radio.
Swetha, blessed with mellifluous expressive voice gave many performances earlier. Her repertoire on this occasion was composed of popular numbers of different vaggeyakaras, in Tamil and Kannada too. She began with Natakuranji varnam- Chalamela doing it in two speeds setting positive mood of the concert. She followed it with Deekshitar's composition Swaminatha Paripalayamam in Nata. Later, she sang Sakalagrahabalamemi of Purandara Dasa in Athana, with a brief sketch of raga, a sweet rendition indeed. Thyagaraja's Bagayenayya Nee Mayalento in Chandrajyothi, she rendered next projected well its sahitya bhava. She then chose to render Meenakshi Pancharatna slokas in Simhendra Madhyamam, Mohana, Ranjani, Valaji and Sumanasaranjanai as a preface to the Kannada composition Dayamado Ranga of Purandara Dasa set in the same Sumanasa Ranjani that the last sloka of Meenakshi Pancharatnam was sung. Seetamma Mayamma in Vasantha of Thyagaraja that figured next was followed by a Tamil traditional number Varuvai Varuvai in Desh. Both were pleasing numbers. The first raga essay was Poorvikalyani, which she evolved into beautiful essay. ‘Paramatmudu Jeevatmudu' was her choice kriti, that was decorated with a brief neraval and expansive swarakalpana. Then she rendered a rare Dharmasravana Videtage in Durga.
Kharaharapriya was her main melody of the concert for a Swati Tirunal's number Satatam Tavaka . The delineation of the raga passed through impressive phrasings that built the tempo. It was here she revealed her imaginative skills in evolving this into an interesting structure. The nereval she did at Mama Hrudivasanisham with right approach for sahitya impact slowly merging into rhythmic spells, to be carried through to her swarakalpana. Violinist Saikumar responded well at all the stages of raga built up and swarakalpana. The tani avartanam in Aditalam presented by the percussionists Renuka Prasad on mridangam and Sridharachari on ghatam added to the total impact of the number. Akati Velala of Annamayya in Jog, tuned by Hyderabad Sisters, Lalitha and Haripriya was well received. The concert ended with a Lalgudi Tillana in Behag, once again bringing vigour into play.
