Nithyasri's vocal concert at the Navaratri festival of music, held by Manoranjitham at Sree Ayyappan Puja Sangham, Ramnagar, was characteristic of her wide vocal range and ability to negotiate the octaves with ease. With her presentation of the Nattakurinji varnam with élan, the rasikas expected a variegated choice of compositions. After a breezy rendition of ‘Nennarunchara' in Simhavahini, her Ritigowla raga delineation was built up with essential phrases highlighting the madhyama middle octave for the kriti, ‘Cheraravadhemi Ramayya.' The akara segment for the raga, Surya, as a prelude to the song, ‘Kaarya Kaarana Swaroopane' in Kalgada was an exhilarating exercise.
Purvikalyani alapana for the kriti, ‘Parama Paavana Rama Paapavimochana' revealed the artist's natural impulses in the razor-sharp brighas through the octaves displaying the process of her internalisation. The accompanying niraval and swaras were executed with ease and fluency. The other songs included ‘Maamadurai Meenakshi' (Bageswari), a viruttham and a Meera bhajan (Misra Sivaranjani). Krishnaswami's violin responses with measured grace imparted deft touches and delicate shades to the alapanas and swara forays. Sivakumar (mridangam) and Suresh (ghatam) played their roles fittingly in the laya wing.
Melodic style
Saketaraman 's kutcheri was a combination of melodic style with performance vigour. His ability to internalise the charms of aesthetic finesse came to the fore from the start to the finish of his concert. Warming up with a winsome delivery of the Lalgudi composition ‘Neeve Gathiyani,' the following Nattai kriti ‘Jaya Jaya' with swaras was a flawless execution. His raga alapana of Varamu for the kriti, ‘Thunai Purindarul' revealing his manodharma with precision spoke of his vidwat to give shape to the over-all picturisation. His delineation of Kalyani for ‘Amma Ravamma,' was marked by majestic pidis, striking prayogas and karvais softened by melodic graces.
‘Chalamelara' (Margahindolam) and ‘Ododivandan Kannan,' (Aahiri) were rendered with a sense of feeling reflective of his creative instincts.
Subhalakshmi scanned the raga alapanas and swara sallies with an eye on their light and shade qualities. The accompanist on the mridangam and ganjira wrapped up the beats in their own inimitable way.
The communicative skills of Balamuralikrishna showed that he was moderate in his attempt to tap the core of the ragas he handled in the upper reaches. Commencing his recital with ‘Vanajakshi' varnam in Kalyani, his rendition of ‘Iniorukanam Unnai Maraven' with swaras was refreshing. His swaraprastaras for the Darbar kriti, ‘Yochana' was rhythmic and melodious. His Latangi alapana traversing the three sthayis effortlessly highlighted with care the rakti of the raga for the kriti, ‘Tirupati Venkataramana' followed by niraval and swaras. In Thodi, the vocalist modulated his voice to bring out karvai prayogas for the kriti, ‘Sree Krishnam Bhajamaanasa.' His other songs included ‘Janani Ninnuvina' (Ritigowla), ‘Hariharaputhram' (Vasantha) and ‘Manavyala' (Nalinakanti).
Gopinath was dexterous in his fingering techniques on the violin in the raga alapanas and swara repartees. Prasad (mridangam) and Venkataraman (ganjira) shone with their bright patches of rhythm in their beats besides offering a vibrant thani.
