Bhavna Vaidhyanathan, accompanied by Anuthama (violin) and H.N. Krishnamurthy (mridanga) presented a vocal concert at the Prasanna Veeranjaneyaswami Temple, Bangalore, on Saturday.
"Ninnukori", the adi tala varna in Vasantha raga, the opening number, was followed by the Papanasam Sivan's krithi "Mooladhara Moorthe" set to Hamsadhwani raga and adi tala, and "Samanyavalla" in Charukeshi. The succeeding alapana of Dharmavathi was evidence of sweetness and clarity of the artiste's voice, coupled with a fluid ease of expression. "Mangambudhi Hanumantha", a composition of Annamacharya in adi tala, included a few rounds of kalpana swaras ending with a brief focus on the tara sthayi shadja.
Kanakadasa's "Parama Purusha" in Mishra Mand and adi tala and a Purandaradasa composition in khanda chapu thala, set to a ragamalika comprising Bageshri, Mohanam and Basant Bahar, provided a mellifluous interlude before the main raga of the concert, Shankarabharanam. The alapana was in the traditional mode, stressing the gandhara, panchama and the tara sthayi shadja, maintaining steadiness and lucidity in the gandhara above and in the bhriga-oriented passages. "Eduta Nilachithe", the Thyagaraja composition in adi tala, featured a well-laid out neraval and kalpana swaras at the anupallavi line beginning "Nudutivrathagani", with timely support from the violinist and the mridangist, who maintained a laudably high standard throughout the recital.
The Rageshri tillana in adi thala and the ragamalika "Kannare Kandena Achyuthana" brought the concert to a close. More performing opportunities will enable the artiste to hone her innate abilities to a greater degree of perfection and maturity.
The Music Circle hosted a recital by vocalist Manasi Prasad, accompanied by Mysore R. Dayakar (violin) and B.C. Manjunath (mridanga), on Sunday.
Beginning with "Swamiyei Azhaithodiva", a padavarna in nine ragas, the concert gathered momentum with Swathi Tirunal's "Gopalaka Pahimam" in Revagupthi raga and mishra chapu tala and the kalpana swaras suffixed to it. The alapana of Anandabhairavi, and Shyama Shastri's "O Jagadamba" in adi tala, were suffused with raga bhava, demonstrating the artiste's penchant for a wholesome completeness in the execution of sangathis. GNB's composition "Paramukha" in Kanada was prefixed with a delectable raga alapana, the sancharas running the entire gamut of the raga from the mandra sthayi panchama to the tara panchama, highlighting the quality and range of the artiste's voice. The neraval and kalpana swaras at "Niraamaye Neeradashyaamale" were both impressive and appealing.
The Thyagaraja composition "Vinaradana" in Devagandhari was prelude to the focal point of the performance, a raga tana pallavi in Dharmavathi. The alapana included long rests at rishabha, panchama, dhaivatha and shadja, with a sprinkling of panchama and shadja varjya sancharas. The notes up to the thara sthayi panchama were struck effortlessly, though an attempt above that was not entirely successful. The tana encompassed a variety of patterns, and the pallavi beginning "Vidhiyuvathi Bhagavathi" set to khanda jathi triputa tala was expanded with remarkable improvisational powers. The kalpana swaras also featured a ragamalika component, with swaras in a melodious Behag and a soulful Revathi, enhanced by excellent melodic and percussive support from the accompanying artistes.
