One of the prominent vocalists of the twin cities, Kamalaramani, appeared in Nadabharati's concert series last week at Swathi Hall and entertained the audience with her mellifluous and spirited rendition of well chosen compositions. She acquired rich musical knowledge and skills under the tutelage of various gurus and had advanced training from D. Seshachari. Over a period she built herself to be a standard musician. She is a guru too now. It was a must according to Sabha's rules for an artiste to present Atatala varnam and Ragam-Tanam-Pallavi. Her approach was traditional all through.
Kamalaramani opened with Kalyani Atatala varnam and presented it in two speeds. She followed it with Sogasuchooda Tarama of Thyagaraja in Kannadagowla ragam set to Rupakatalam in which the swarakalpana was precise but beautiful. Brova Bharama in Bahudhari again of Thyagaraja was an interesting rendition, at once expressive. Then she took up Raga Thodi for expansion and her delineation was marked by some impressive nuances here and there. Emijesithenemi in Misrachapu talam was her choice number in this raga and she rendered it with perfect sahityabhava. The swarakalpana too was expansive.
The Ragam, Tanam and Pallavi exercise in Poorvikalyani (Aditalam) was the highlight. The delineation of the raga brought out all its beauties in a phased manner in building the raga and also in the tanam part. The Pallavi, spaced with one kriya, was a well carried out rendition, packed with interesting nereval and swarakalpana displaying her rich imagination. Violin accompanist Rajan managed well to reflect all the phrases in different exercises in the piece.
P.S. Gopalan on the mridangam presented Tani Avartanam with one kriya space and complex calculations.
