Brinda Manickavachagam has a composed and mature approach towards music. Better planning is necessary while choosing songs. A fast piece between two slow numbers will definitely elevate the mood of the concert.
Unmindful of the inadequate sound system, with concentrated effort, Brinda started her concert with ‘Eranapai,’ the Thodi varnam. The next item was ‘Padame Thunai Ayyane’ in Hamsadhwani. The kalpanaswara had varied patterns; it was not just the usual up and down exercise.
‘Tulasidala’ in Mayamalavagowla was aurally pleasing with niraval and swaras at ‘Sarasiruha Punnaga.’ The elaborate exposition of Kannada was testimony to her manodharma. It was a slow and steady exposition interspersed with brigas as the raga demanded. Dikshitar’s ‘Giticakraratastithayai’ was rendered well. Again a lengthy alapana of Varali was followed by an eight line, ‘Aazhi Mazhaikkanna.’ It would be better if the length of the alapana is proportionate to the size of the composition.
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The niraval and swaras at ‘Vazha Ulaginil Peididai Nangalum’ were enjoyable though it did not sound as an appropriate line for niraval.
The violinist M. Vijay followed the vocalist sincerely and played a fine version of Kannada and Varali. The thani by Praveen Kumar was enjoyable.
Thereafter came ‘Thunai Purindaraul,’ Sivan’s composition in Varamu wherein the sangatis did not fall well. There was yet another elaborate alapana followed by tanam and pallavi! ‘Ma Madurai Meenakshi Kanchi Kamakshi Kasi Visalakshi’ (the ‘k’ in all the three names was absent while singing) was the pallavi line for Madhyamavati. The concert ended with a thillana in Kanada.
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Iyer Sisters
Sri Vidya and Sudha, the Iyer sisters, sing in unison. Both have good voices. Theirs is pure and chaste music, and their repertoire had many a traditional song. They also have commendable maturity for their age. Tyagaraja’s ‘Sogasujuda Tarama’ in Kannadagowla with a few rounds of kalpanaswaras instantly lifted the concert. A fast rendition of ‘Emani Pogadudura’ in Vira Vasantha followed before they settled down for serious stuff.
The Arabhi raga alapana by Sri Vidya was short and sweet and ‘Cala Kallaladu’ was presented with well-maintained tempo. ‘Sri Sathyanarayanam,’ the Subhapantuvarali composition of Dikshitar, was a beautiful rendition. The niraval at ‘Vasavadi Pujitham’ was just full of raga bhava and the pathos and the jeevan of that raga was oozing out. ‘Nenarunchinanu’ in Malavi acted as a filler and here it must be mentioned that the mridangam artist just unleashed himself.
The main raga was Kalyani and Sudha, with her mesmerising voice, gave an elaborate and detailed delineation of the raga. Syama Sastri’s ‘Thalli Ninnu Nera’ was rendered well with succinct swara passages at ‘Sarojabhavacyuta.’ Kalyani had joy in it.
The violinist K. J. Dileep played Arabhi and Kalyani with complete involvement. The thani by Sumesh Narayan was just right. The tail pieces included the Oothukkadu sahityam, ‘Pullai Piravi’ and a thillana in Behag. It was a good team work from individually talented artists.