Music critic Subbudu once said that if he were left deserted on a lonely island, and if he were allowed to keep three things, he would choose a cassette of Sudha Ragunathan; betel leaves and tobacco; and a book of poet Kannadasan's works. In her concert, Sudha proved she richly deserved such accolades.
Even the oft-heard Mohana varnam appeared sparklingly new, thanks to the fresh touch she gave it. This is why her concerts are a big draw. It was a difficult task for the Sabha secretary Krishnamurthy to accommodate the huge turnout, in spite of a video screen outside the auditorium.
The charm of Charukesi flowed gently like a stream, carrying with it all its beauty along its way. B Raghavendra Rao on the violin drew a splendid picture as well.
Sudha chose Maharaja Swati Tirunal’s ‘Kripaya Palaya Soure’ as the main piece, with niraval at ‘Narada Mukha Muni.’ She could weave a rich musical tapestry through the swaras that were soft and sweet. There was a well proportioned symmetry about them. Tiruvarur Vaidyanathan (mridangam) and R. Raman (morsing) offered a splendid thani in misra chapu, with the usual dose of tisram.
Vaidyanathan has magic in his fingers that produced a few super-fast patterns, which were easy on the ear. However its decibels need not have been so high.
Sudha chose Hindolam for Ragam Thanam Pallavi, whose beauty cannot be reduced to writing. It is be easier felt than described. Though a worthy pupil of MLV, Sudha has carved an outstanding style of her own. The thanam she offered was grammatically perfect, yet creatively charismatic. The pallavi, apt for the sabha, ‘Sri Parthasarathi Naa Paalithosyaham’ in an intricate misra jathi triputai in tisra nadai with eduppu at ‘Sunduviral.’ She showed that she is not a vocalist alone but a scholar as well. In the pallavi vivaharas, she was supremely sure of herself, confirming that she is on top. There is an intellectual touch in whatever she attempts.
The ragamalika swara sancharas were dazzling. Her varied repertoire came to the fore through ‘Saaramegaani’ in Pantuvarali and ‘Dehi Thavapadha Bhakthim’ in Sahana -- both by Tyagaraja.
Arunachala Kavirayar’s ‘Yaro Ivar Yaro’ (which she commenced from the anupallavi ‘Kaarulaavum’), Papanasam Sivan’ s ‘Paadhame Thunai’ and Dikshitar’s ‘Akhilandeswari’ provided charisma.
Sudha wound up her concert with ‘Kuzhanthaiyaaka Meendum Kannan’ in a folksy Sindhu Bhairavi, ‘Govindamiha’, a tharangam of Narayana Thirtha in Bagesri and a lilting Hamir Kalyani thillana.
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