M.A. Narasimhachar Music Foundation, Bangalore, in association with Ananya, hosted a vocal concert by Bhargavi Venkataram recently. The accompanying artistes were Aniruddh Bharadwaj (violin), and R.Adamya (mridanga).
The recital got off to a bright start with a two speed rendition of ‘Karunimpa’, the adi thala varna in Shahana. Maharaja Swati Tirunal’s composition ‘Deva Deva Kalayami’ in Mayamalavagoula raga and rupaka thala was ornamented with a well ordered neraval and kalpana swaras at ‘Jatharoopa Nibha Chela’.
The shloka beginning ‘Vande Matharam Ambikam’ was next expanded in ragamalika format, beginning with Reethigowla, and moving on to Kalyani and Ranjini as and when the latter two raga names occurred in the verse as appellations of the deity, and reverting to the first raga in the end. The celebrated Subbaraya Shastri kriti in mishra chapu thala, ‘Janani Ninnu Vina’ followed.
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‘Chandrachooda Shiva Shankara’, the ragamalika in adi thala was prefixed with essays of ragas included in the piece, Shankarabharana, Sunadavinodini, Thodi and Khamas, brief but melodious and replete with raga bhava, with the Khamas segment being especially notable for its fluency and sweetness. A swift ‘Shobhillu Sapthaswara’ in Jaganmohini raga and rupaka thala led to a fairly detailed elaboration of Kalyani.
Commendable voice control and powers of improvisation were explicit in the alapana, which also combined melody, classicism, and adherence to tradition. ‘Nidhi Chala Sukhama’, the Tyagaraja kriti in mishra chapu thala was supplemented with neraval and kalpana swaras at ‘Mamatha Bandhana Yutha’, both of which testified to spontaneity and technical and rhythmic skill.
The concluding stint of diminishing thala cycles around the thara sthayi shadja was followed by an intricate yet proportionate thani avarthana. Smooth bowing and appropriate manodharma inputs in conformity with the lead artist’s intent by the violinist and exemplary percussion support were in evidence throughout the performance.
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Though the current concert would have had greater impact with better structuring, and more forceful and full throated articulation on occasion, the young vocalist displayed the expertise, the aesthetic sensibility and the potential to develop into a consummate performing artist over time.
While frequent power outages and imperfect substitute arrangements distorted sound quality for a substantial part of the evening, all the artists on stage and the vocalist in particular, displayed laudable equanimity and presence of mind for the entire duration of the performance.