It was a short but more demanding repertoire that young N.C. Ravali came out with, in her concert for Sujanaranjani, who chose Saptaparni's open air venue to organize the concert. Ravali belongs to Nallanchakravartula family known for music. She shifted to Chennai to improve skills under Ranjani and Gayatri the musical pair and is now aiming to become a doctorate in music. She has already completed her M.Phil. A child prodigy that she was, she was already trained by her father N.C. Lakshmancharyulu, her aunt N.C.Vani and Vyzarsu Balasubrahmanyam. She was in the company of seasoned violinist O. Rajasekhar, mridangam Mehersagar and Ghatam player M. Chandrakanth, who is still a student in the art.
The very opening number Kalyani Varnam, Vanajakshi , set path for a pleasing musical output, that she did in two speeds, with ease. Tulasidalamulache a popular number of Thyagaraja in Mayamalavagowla, with a variation of expression, figured next. The swarakalpana was brief but neat, she presented at the line Sarasiruha . Bantureeti Koluvu in Hamsanadam had the privilege of the raga essay in detail. She has to concentrate on the sahitya part a little. The swarakalpana had some breezy moves, but clear. She presented the line Ramanamamane with nereval like expression. The swarakalpana sounded a well practiced presentation. This was followed by Rangapura Vihara of Muthuswami Deekshitar in Bridavana Saranga. Later, Ravali came out with G. N. B's Ranjani Niranjani in Ranjani choosing the line Panchabana for swara presentation. Rangapura Vihara of Deekshitar in Brindavana Saranga rightly prepared base for her Bhairavi number, major showpiece of the concert.
Bhairavi was evolved with leisurely grace turning it out into a mellifluous output. She built the raga step by step in text book fashion. Swati Tirunal's Janani Mamava figured in this. Violinist Rajasekhar added his own imagination in his response, giving a consummate appeal to the raga. The swing in voice to rhythmic beats was good. The tani avartanam by percussionists was passable with the ghatam player literally left idle.
The final numbers had a rare composition of Peda Tirumalacharya son of Annamacharya that was composed by S.Venumadhav in Bhagesri. This sahitya of the lyric Nelatabasiyundalenu though sounded romantic but has inner theme of Nayaka- Nayaki relationship. She gave a sketch of this Hindusthani raga. Though Ravali's voice is melodious but sounded a bit feeble, she has to concentrate on Sahitya especially in breaking a full phrase into two parts. .
