Young Ruchi Kumar Mishra, disciple and daughter of Arun Kumar Mishra, presented the robust and rigorous Dhrupad in Raga Miya Malhar, additionally attempted Khayal, also in the same raga.
Ruchi's repertoire brought out the different rasas which are associated with Dhrupad gayaki, and beautifully displayed the link of the lyric with the taal.
Ruchi presented two pieces in Gaudhar and Khandar banis.
Divine notes
Adhering strictly to the features of Bettiah gharana, Ruchi took short alaaps, and maintained a bandish that was fixed in the frame work of taal, there was no change in speed (lai), no bol baants and no vistaar like in Khayal; the notes were stable throughout. It was refreshing to see young Aditya Srinivasan, disciple of Rajesh Dhavale, a student at Anna University make confident strokes on the tabla while veteran Vireeshvar Madri was in perfect sync on the harmonium.
Arun Kumar began his recital in Kedara in Vilambit Chautal. This was followed by Dhrut Chautal and dhrut Zhaptal in raag Bihag.
He created unity by invoking Lord Sankara, Kasi Vishwanath and Ganesa. The challenge to preserve the intricacy and complexity of the Dhrupad and the great Bettiah Gharana was satisfactorily taken up by Arun Kumar, his performance a reminder that Dhrupad was a forerunner to Sadra, Khayal, Tappa and Thumri.
Accompanying him on the violin was Dr. Narmada and on the pakhawaj by the vibrant Apurvalal, who had come all the way from Kolkata.
