Sudha Ragunathan’s vocal concert, accompanied by Raghavendra Rao on the violin, Skanda Subramanian on the mridangam and Raman on the morsing, organised in memory of late C.R. Gopinathan by the Ramalakshmi Charitable Trust, Coimbatore, was a display of her virtuosity.
Her evocative sensibilities equalled by her sound patanthara and consummate harmonisation added sheen and finesse to her renditions. Her Daaru Varnam – ‘Maale Malayadhwaja’ in Khamaas set the concert in motion. Her brisk presentation of ‘Gajavadana’ in Sriranjani with smooth swarakalpanas and a detailed sketch of Hindolam for the kriti, ‘Nambikkettavar Evaraiah’ with skilful modulation punctuated by phrases were reminiscent of the MLV bani. ‘Nannuvidachi’ in Ritigowla with a sweep of sangatis was a perfect synergy of lyric and melody exalted by bhakti rasa.
Bhairavi raga enunciation underscored by majestic pidis added a breath of freshness to the kriti, ‘Balagopalam.’
‘Balakanakamaya’ Atana), ‘Bhavayami Balagopalam, Diwakarathanujam’ (Yadukulakhambodi) and a Dasar padam were the other numbers on her musical agenda.
Raghavendra Rao’s depth of manodharma in his raga vinyasams and swara sallies matched the artistry of the vocalist. Skanda Subramanian and Raman lent distinctive support in the laya wing with flashing patterns to embellish the songs.
Simple and direct
S. Rajeswari’s kutcheri, featured under the aegis of Rajalakshmi Fine Arts, Coimbatore, was marked by classical simplicity and directness of expression sans frills. Her homework enabled her to present her recital in an interesting format filled with bhava. She commenced her concert with the Saveri Varnam followed by ‘Gananathane Gunabhodane’ (Saranga) and ‘Parvatipatim Charanam Santhatham’ (Hamsadhwani) with swaras.
After a deep and measured alapana of Chalanattai, ‘Edayyagati’ (Koteeswara Iyer sahithyam) was rendered with a pervasive sense of tranquillity.
The raga sketches of Purvikalyani for ‘Ksheerasagara Sayee’ and Madhyamavati for ‘Rama Katha Sudha’ with niraval and kalpanaswaras were underlined by good gamaka orientation and azhutham resulting in sowkhyam.
The artist was accompanied by T.K. Padmanabhan (violin) and Subramanian (mridangam). There was perfect understanding between the vocalist and the accompanists that helped the concert to progress on an even keel.
(krishangan@gmail.com)
