Subhashini Parthasarathy has good patantaram from which she does not move an inch to the extent that there is no improvement whatsoever in the rendering of kalpitha sangitam in the form of voice modulation, involvement, etc. The manodharma part of the concert, even after decades of experience, was lifeless without beauty or colour. It was grammatically correct but aesthetically lost. Consistency didn’t seem to be a virtue in this case.
The first raga essay of the evening Kedaragowla did not evoke any feeling. It was followed by ‘Saraguna Palimpa.’ Earlier, she commenced with the Adi tala varnam in Thodi, ‘Eranapai,’ with kalpanaswaras. ‘Bhuvinidasudane,’ the Sri Ranjani kriti of Tyagaraja, and ‘Ennaganu Rama Bhajana’ in Pantuvarali followed. The niraval at ‘Rama Chiluka’ lacked involvement. ‘Rama Rama Rama’ in Vasantha sung at a fast pace helped lift up the mood a little bit.
The main piece was ‘Innamum Sandeha’ of Gopalakrishna Bharati, which was preceded by an elaborate raga alapana of Kiravani with niraval at ‘Ponnambalan Thanil.’
The violin by V.V.S. Murari was equal to the task on hand. The thani played by B. Ganapathyraman on the mridangam and Adambakkam Shankar on the ghatam was enjoyable.
Subhashini concluded her concert with ‘Samayamite Gadurana Sami,’ ‘Adineepai’ in Yamunakalyani, and ‘Kannanai Pani Maname’ in Shanmukhapriya, preceded by ragamalika viruttam. ‘Sivadiksha Baru’ in Kurinji was a welcome inclusion.
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