Sapatswara Samskrutika Samstha, organised an interesting Carnatic concert by an up and coming fresh face Gudipati Bhagyalakshmi last week at Sri Thyagaraja Gana Sabha. Bhagyalakshi is a disciple of ‘Hyderabad sisters’ Lalitha and Haripriya. She was accompanied by O. Rajasekhar on the violin and Meher Sagar on mridanagam. Bhagyalakshmi opened her concert with Sudha Madhurya Bhashana of Thyagaraja in Sindhunamakriya, set to Aditalam and followed it with Paramapavana Papavimochana in Ranjani a rare composition of Meechu Krishna. She then rendered Manasuloni Marmamu of Thyagaraja in Hindolam. This was presented with swarakalpana. Later she sang Patnam’s Marivere in Latangi, khandachapu Talam. She treated Latangi as her first raga essay of the concert with a detailed raga picture. The raga essay was neat and melodious. And in the process of kriti rendition in Khandachapu Talam she revealed her excellence in presenting the lines with Bhava. Raga and swarakalpana were well shaped. A short Kriti of Thyagaraja Nenarunchara Napaini in Simhavahini was the next number followed by Thyagaraja’s Adiki Sukhamulu in Madhyamavati in Misrachapu Talam. This was the major number of the concert. Raga delineation was a disciplined picture created with methodical approach. The Kriti rendition was absorbing more because of her expressive style of rendition. She presented neraval at Neeke Dayabutti that was extended into swarakalpana part, showing her ability to display her reasonable creative skills.
At this stage the percussioninst Mehar Sagar on mridangam presented Tani Avartanam. Violinist Rajasekhar’s contribution to the concert was praiseworthy. Bhagyalakshmi rendered Purandaradasa’s kriti Dayamado Ranga in rare Sumanesa Ranjani ragam. ‘Jaya Jaya Durge She concluded her concert with Madurai Srinivasan’s Tillana in Kapi. Bhagyalakshmi’s vocal output was pleasant and her repertoire was varied. She displayed discipline and fantastic memory in presenting some fresh numbers.
