Vocal: Smt Manda Sudharani
Violin : B U Ganesh Prasad
Mrudangam : J Vaidyanathan
Ganjira : B N Chandramouli
01. sarasUDa ninne kOri (varNam) – sAvEri – Kotthavaasal Venkatrama Iyer ( O )
02. girirAja sutA tanayA – bangALa – Thyagaraja ( S )
03. toLijanma manu – bilahari – Thyagaraja ( A,S )
04. enta bhAgyamu – sAranga – Thyagaraja
05. manasA manasAmarthyamEmi – vardhani – Thyagaraja ( A,S )
06. rAja rAja rAjitE – nirOshTha – Muthaiah Bhagavathar ( O,S )
07. padavi nI sadbhaktiyu – sALagabhairavi ( N )
neraval @’thyAgarAja nutuDu SrIrAmuni tatvamu teliyani doka padavA’
08. kripayA pAlaya shourE – chArukESi – Swathi Thirunal (A,N,S,T )
neraval & swara @’tapaniya nibhachEla tuhinAmSu suvadana’
09. annapUrNE viSAlAkshi – SAma – Dikshitar
10. RTP – shaNmukhapriya – chaturasra tripuTa x 2 kaLai , samam eDuppu, pUrvAngam in tisra naDai
grahabhEdam to ????
pallavi line : ‘ gAnalOla karuNAlavAla pAlaya, bhakta jana paripAla vara leelA ‘
swaras in shanmukhapriya, no rAgamAlika swaras
11. SLOkam ( lOkAbhirAmam raNaranga dhIram) – behAg
bhaja bhaja pAyasa bhAvam – behAg – ??
12. akaTi vELala – shubha pantuvarALi – Annamacharya
13. thillAna – dhanASri – Swathi Thirunal
14. mangaLam – saurAshtram – Thyagaraja
It’s for the first time I am attending this vidushi’s live concert. My previous experiences of her music was a couple of TV telecasts. I am aware of her credentials and her capabilities and that was the inspiration to find time on a weekday to brave the rain and traffic to reach early for the concert. Except for her physical discomfort, which hampered the free flow of her music to some extend, the concert was fabulous. She does not have a voice that suit a play back singer. Added to that, she seems to be having trouble, suffering from a bad throat during the entire concert duration. That however, did not diminish the quality of the concert, giving us a highly satisfying evening. Another sholarly rendering, with some mesmerising swaras and neravals.
After a short settling issue with the mike arrangements, the team quickly sang a varnam and a fast bangala kriti. Short round of swaras for bangala was interesting. Bilahari was the first alapana, albeit short. Toli janmamuna was decent, however the split swara singing ( in the same avartanam) first part at tolijanma and the second at duduku was very appealing. Saranga filler wasnt anything special to mention.
She launched herself into another detailed alapana. We didn’t have to scratch our head for long identifying the raga, as the vidushi herself came to our rescue, announcing vardhani. Cant comment much on this as it isn’t a familiar ragam, however, it was interesting most of the parts. Ganesh Prsad did a commendable job too. Thyagaraja kriti was again new to me. She sang a few rounds of swaras as well.
Niroshtha was real class. Some outstanding rounds of swaras, with some clever distribution of the ‘eduppu’. Ganesh Prasad was brilliant in his returns here. Never heard such detailed kalpana swaras for niroshtha before. If this was a surprise, the salagabhairavi that followed had more in store for us. First, she sang the entire charanam ( all four ) , I’ve not heard this from anyone before. Added to that, she decided to sing a brilliant neraval for the complete 4th charanam line.
Charukesi alapana started around 8 ‘O clock. Alapana was rather short, did not create the impression for the main piece of the evening. Alapana from her as well as Ganesh Prasad was good. The kriti with neraval and kalpana swaras was pretty decent. Percussion team played out a good tani avartanam. In general, percussion was rather subdued. The amplification balance was on a lower side for the mrudangam, and I felt it took 3-4 kritis before it fell into the groove. Ganesh Prasad on the other hand was very impressive, his niroshtha the shanmukhapriya alapana and tanam were top class.
Pallavi was in the offing, looking at the time. Shanmukhapriya alapana by itself was ok, but for a clever grahabheda she did in the middle. I couldnt decipher the drift in the short time, hence cant identify to which raga she traversed. Tanam was long and very good, especially the return from Ganesh Prasad. Though the pallavi was set to adi tala, there wsa nadai variation from the purvanga and uttaranga. There was the customary ‘trikalam’. No ragamalika swaras, but she sang an outstanding shanmukhapriya swaras. A ‘looong’ swara prasthana, with all intricacies thrown in, were awesome.
Post main had a couple of pieces, and the dhanasri thillana. The behag kriti was new, and shubha pantuvarali version of akaTi vELala was interesting. Very good conert, despite her not being 100% fit, physically.