A vocalist and teacher of repute, Bengaluru-based musician Vasudha Keshav has been performing for over two decades. Trained under guru H.S. Mahalakshmi who belongs to the sishya parampara of Tiger Varadachariar and Harikesavanallur Muthaiah Bhagavathar, Vasudha’s music reflects a resolute grounding in the tenets of uncompromising classicism.
At her concert for Nadopasana, what communicated itself instantly was a sense of innate honesty in musical intention. Gimmickry and affectation found no place in the presentation. But a conservative approach did not imply a complacent approach. Her readiness to raise the bar based on an awareness of strengths and limitations lent freshness to the vocalist’s interpretations.
Projecting the charm of Amritavarshini in an alapana wherein panchama-centric passages progressed to vadi-samvadi and jaru -laced sancharas at the nishada and a vigorous stand at the tara sthayi gandhara, the artist presented Muthuswami Dikshitar’s ‘Anandaamrutha Karshini’ that shone with a meticulously crafted sangati line-up.
Lathangi was built on a matrix of madhyama kala prayogas and brigas, with shadja-varja phrases adding highlights. Akara passages maximised the effect but frequent usage of ukara tended to dilute the impact. Although the standard components were in place, the alapana lacked that indefinable something that elevates an exposition from competent to memorable. One contributory reason could have been the ceaseless detailing that did not allow for areas of contrast. However, the artist settled firmly into her stride in Patnam Subramania Iyer’s ‘Marivere Dikkevvaru’, elaborated with much zest.
Powerfully articulated, exploring nooks and crannies, the neraval in two kalas at ‘Daralona’ culminated in a sweeping, comprehensive statement that won richly deserved applause while kalpanaswaras packed considerable punch and power.
Happily this energy was carried forward into the core piece ‘Nannupaalimpa’ (Mohanam, Tyagaraja). It was in Mohanam that the artist cashed in fully on her potential. And what a splendid alapana it turned out to be! Giving full rein to her creativity, Vasudha unveiled delicate facets with silky jarus and glissades. The prolonged panchama suite yielded a rich harvest while the full-throated tara sthayi gandhara segment showed voice to advantage. Proportion was the key principle here. Handling the kriti with finesse, the vocalist reaffirmed her flair for neraval which flowed smooth and seemingly effortless at ‘Vanajanayana’ harnessing the raga’s lovely lilt and sway. It was a delight to witness, in kalpanaswara, the insouciant ease with which the artist steered the kuraippu at the dhaivata, kanakkus encased in melodic shells.
The accompanists rose to the challenge, the surprise element that surfaced at intervals keeping them on their toes throughout. K. Rahul (violin) mirrored Vasudha’s intentions in his leisurely transit through kizhkala neraval, bold swarakalpana expeditions and a well-crafted Amritavarshini delineation.
M.K. Balaji (mridangam) was pleased as punch to be teamed with a vocalist who had not only done her homework well but also knew her math. And it showed. In the percussionist’s enthusiastic responses to the vocalist’s off-the-cuff permutations, there was a synergy that both complemented and enhanced the exchanges.
With H. Sivarakrishnan’s (ghatam) joint contribution, the tani was compact and enjoyable.
Other renditions included Nadopasana Srinivasan’s Tamil kriti ‘Venkatamudayanai’ (Bilahari) and ‘Parakela Nannu Paripalimpa’ (Kedaragowla, Syama Sastri). With a voice that dipped to a comfortable reach in mandra sthayi, rejoiced in a powerful timbre in madhya sthayi and displayed a tendency to thicken in tara sthayi, the artist nevertheless adroitly negotiated upper octave passages. Focussing on clearer enunciation of lyric would enhance the impact of compositions.