One admirable quality of Gayathri Girish is her clear management of time for the selected items in her concert. Therefore, her vocal recital was a compact and complete one with least deviations. The Ata Tala Khambodi varnam ‘Sarsijanaba’ gave a regal start to her progaramme. She had also included a couple of fairly fresh numbers such as ‘Ekabaranatheswarena’ of Dikshitar in Chaturangini (Chitrambari) and ‘Sadanandamayi’ in Hindolam from Oothukkadu’s Kamakshi Navavarnam. The former one was even given an alapana introducing the raga image to the listeners.
Bhairavi for ‘Tanayuni Brova’ with alapana had a good footage and niraval swaras further enhanced the weight of the presentation. Latangi was the chosen melody for the Ragam Tanam Pallavi crafted in Tisra Triputa four kalai. The pallavi was constructed in such a way that the raga name also figured as ‘Matangi Mamadura Meenakshi Maragatangi Lalitangi Latangi.’ After the usual treatments Gayathri also framed the ragamalika swara with the ascending and descending notes with different ragas before directing to the final korvai.
Gayathri’s raga essays invariably convey her clever ingenuity and balanced method to articulate them. The tara sthayi sancharas at some places showed strain notwithstanding she delivered the ragas with good control and commitment. The swara sequences were also maintained at a dignified range. Some interim numbers such as ‘Anudinamunu’ in Begada with swaras, ‘Malmaruga Shanmuga’ in Vasantha and the concluding thevaram were impressively projected.
Anuradha Sridhar is an eloquent violinist from the illustrious Lalgudi lineage. So her vision, approach and presentation belong to the quality of merit. Her swara sorties with Gayathri in RTP and Bhairavi spoke of her skill. A.S. Ranganathan and Papanasam S. Sethuraman could make their presence felt by engaging thani avartanam.
