A high-quality Carnatic music performance is not just about exposition of musical values. Vibrancy and variety being provided in the allotted time is a key determinant to success. Going by this, Amrutha Venkatesh's concert left much to be desired. Her musical sense was evident in the manodharma segments, but by choosing an anaemic style sans passion, she put the concert to slumber.
Brisk swaras in ‘Janaki Ramana' (Suddha Seemanthini) and the second speed swaras in the main song, ‘Pakkala Nilabadi' (Kharaharapriya) were perhaps the only occasions of dynamic display. Compositions such as ‘Akhilandeswari' (Dwijawanti, Dikshitar) and ‘Manaviche Konavayya' (Sarasangi, Patnam Subramanya Iyer) were neat renditions as Amrutha's lyrical understanding was underlined, but the feeble tinge was manifested all the same. The Sarasangi alapana, interspersed with short whispers, failed to strike a chord. The tempo of ‘Varnarada' (Vijayasri) increased, but the muted decibel level neutralised its outcome.
Amrutha displayed a sharp perspective of Kharaharapriya with many pleasing phrases in the madhya stayi. She was tentative at the tarastayi. V.V.S. Murari fully exploited the opportunity in the raga alapana with karvais and apt brigas. ‘Pakkala Nilapadi' has a striking tempo and yet it ran an uneventful course through Amrutha's vocal chords.
The niraval at ‘Thanuvunche' was pleasant, but perhaps choosing the livelier ‘Manasunatalaci' would have accentuated the endeavour better. ‘Sollavallayo Kiliye' in Bagesri was soothing.
Arjun Ganesh (mridangam) played with anticipation on the resonant instrument and Bhagyalakshmi on the morsing was adequate. The concert was clinically certifiable, but it seemed like sedation was wrongly administered instead of cortisone!
