Vocal : Sriranjani Santhanagopalan
Violin : Charulatha Ramanujam
Mrudangam : Sai Giridhar
Ghatam : S Karthik
List
01 tAmasincu (varNam) – asAvEri – Adi – Patnam Subramanya Iyer ( O )
note : She announced it as a composition of Kothavasal Venkataramana Iyer. I’m not sure, which is right.
02 rAmA nI pai – kEdAram – Adi – Thyagaraja ( O,S )
03 ugabhOga ( nitya upavasittu hasidu) – shuddha dhanyAsi
nArAyaNa ninnA nAmada – shuddha dhanyAsi – khaNDachAp – Purandara Dasa
04 bhajanasEya rAdA – dharmavati – rUpakam – Mysore Vasuevachar ( A,N,S )
neraval & swaras @ ‘niravadhi sukhadAyakuni paramAtmuni bhaktapAluni’
05 Edayya gati – chalanATa – Adi – Koteeswara Iyer
06 kArtikEya gAngEya – thODi – Adi x 2 – Papanasam Sivan ( A,N,S,T )
neraval & swaras @ ‘viravu kOl mayUrApuri vaDi vEl maruvum amalakara kamala’
07 viruttam ( namyaum selvamum ) – mAND
rAmanai bhajitAl – mAND – Adi – PApanasam Sivan
08 thillAna ( ni ri ni ri ga ma ga ri sa ) – pUrvi – rUpakam – Thirugokarnam Vaidyanatha Bhagavathar
09 sUryamUrtE namOstutE – saurAStram- chaturashra dhruva – Dikshitar
10 nI nAma rUpamulaku – saurAStram – Adi – Thyagaraja
shLOkam ( ArOgya pradava?) – saurAStram
She has progressed leaps and bounds since the last time I’ve heard her live. The confidence , poise and control was evidently improved. The team presented a very good concert yesterday at Ranjani Fine Arts.
The significant improvement was observed in her swara singing. It was moulded in the familiar TNS/NSG style, phrases landing and culminating at a point, the intricate variations of laya oriented exercises, measured karvai and the conclusions ; each had the marks of the school, which I always liked.
Very good dharmavati alapana. Charulatha’s return was even better ( as I told her later, that was the best moment for me in the concert ). Very impressive singing of kriti and neraval. Build beautifully and concluded with some class. So was the swaras. The conclusion was equally brilliant. I wanted her to give the chance for Charulatha to do her turn ( since she was brilliant through out the dharmavati), but it wasn’t to be. I could see Karthik indicating the same to the main artist, so I wasn’t the only one, who thought so.
Impressed with her chalanata, which came before the main. Thodi alapana was good, karthikeya gangeya was also very good. It had been a while since I listened this in a concert. Interesting line for neraval. A mix of two lines from charanam, not sure if this make any better literary or musical sense ( or completion). However, it was done competently well. Another well executed kalpana swaras for main.
The percussion team had a field day. At times, one felt if they are somewhat overdoing things. But Sai Giridhar and Karthik did enhance the concert experience with their active play. The tani avartanam also was good. She had to conclude the post main pieces fast as there was a follow on dance performance, which she did well within the time and scope.
Brain Drain 
SAANDRA
February 10, 2020 at 6:00 pm
The Kaccheri Kaiyedu mentions the varnam as PSI’s. A second krithi in Tamizh was a surprise. An absorbing concert. She slips in between, but covers up sweetly.