The concert started with the stately ‘Sami Ninne,’ the Pantuvarali varnam in first, second and third kalams. But, surprisingly, K. Gayatri struck to serving all her chosen kritis in the vilamba kalam probably to provide extra ‘sowkyam’ to her rasikas.
Purandaradasa’s ‘Smarana Onde Jalade’ in Malayamarutham did not raise the tempo either, except during a few rounds of swaras. Gayatri packed the Dhanyasi alapana with enough melody. Significant phrases added here lent avoirdupois to the raga.
Tyagaraja’s ‘Dhyaname Varamaina’ set again in passive mode gathered some momentum during the niraval on the pallavi. In the swara section, Gayatri impressed with her deft weaving and control.
‘Palaya Raghunayaka’ in Saranga by Swati Tirunal and ‘Sridhara Pahi’ in Jayantasri by Mysore Vasudevachar came as soft and swift fillers.
Sankarabharanam and Tyagaraja’s ‘Manasu Swadeena’ occupied the centre stage of this morning concert. Gayatri’s disquisition exhibited time-tested content in the tradition-bound format.
The computation and swaras on ‘Raja Rajesa’ were also developed in the customary style.
Gayatri’s clear and sonorous voice with a wide range and well-guided patanthara sets her apart and thereby makes one expect more from her.
Violinist L. Ramakrishnan followed Gayatri with sincerity.
B. Ganapathyraman and Anirudh Athreya on the percussion tried their best to augment the tempo of the concert to delectable levels.
‘Bhajare Gopalam’ in Yaman Kalyan and ‘Saki Naanen’ in raga Paras on the lines of ‘Maravene Ennalilume’ brought out the spirit of the final segment well.
