Vocal : Aishwarya Vidya Raghunath
Violin : Nalina Mohan
Mrudangam : Anoor Ananthakrishna Sharma
Ghatam : S N Narayana Murthy
01. viribOni (varNam) – bhairavi – Pachimiriyam Adiappa
02. tera tIyaga rAdA – gauLipant – Thyagaraja ( A,S )
03. vaNDADum shOlaitanilE – harikAmbOji – Kalki Krishnamurthy ( A,N,S )
neraval & swara @ mAdavan matHurai maindan maRaigaL paravum mAyan avanO
04. dEvi brOva samayamidE – chintAmaNi – Shyama Shasthri ( A,S )
05. bhOgindra shAyinam – kuntaLavarALi – Swathi Thirunal
06. RTP – bhairavi – khaNDa tripuTa , 1/2 eDuppu
pallavi line ‘ lakSmIm shubhasangItapriyAm smarAmi, shubhapradAm, shubha-‘
rAgamAlika tAnam and swaras in Anandabhairavi,naTabhairavi & sALagabhairavi
07. bhAvayAmi raghurAmam – rAgamAlika – Swathi Thirunal
08. jagadhOdhAraNa – kApi – Purandara Dasa
09. maithrIm bhajata – rAgamAlika – Chandrashekhara Saraswathi
On the occasion of the 100th birth anniversary of the legend, Nadasurabhi appropriately named this months concert as a tribute to the everlasting voice and the universal face of carnatic music. Aishwarya Vidya Raghunath, whose childhood photo on the lap of the the musical icon is going round in the social media, lived up to the theme with a clever selection and specially constructed pallavi for the occasion.
The concert itself had its ups and downs. The good things first. She sang an outstanding harikamboji. Wonderful , very well conceived and presented alapana. A rare kriti, from the MSS staple , brilliant neraval at the last line of the charanam – the full line to my pleasure- and a befitting kalpana swaras. To me that harikamboji is the highlight of the concert, barring a short slip towards the end of the swaras.
Secondly, the gauipant too was of superbly done. A very short and crisp alapana. Fabulous rounds of swaras. One seldom see artist taking up gaulipant and try to do some justice to the raga. That rounds of swaras, were top class.
Her post main was again pretty good. Submitting to a listeners request to sing bhavayami ( I guess he was by then was submerged in the spirit of the theme) she did a commendable job. So was the request for maithreem bhajata.
She sang the bhairavi varnam at the beginning and as in the old times, decided to sing a specially composed pallavi in the same raga (it was a bhairavi-chintAmaNi-bhairavi affair, though). Pallavi line isn’t great, but she did try something for the occasion which is admirable. Long bhairavi alapana was decent, nothing spectacular to talk about. Tanam was better, but the attempt with bhairavi-mala tanam was not appealing at all, was it the speed that was spoiling the fun for me, not sure. She did trikalam, but again the execution wasn’t smooth and flawless. No impact with the kalpanaswaras too. I cant pin-point the trouble areas. It could be the issues with holding breath, as she had many breaks of sequences, or the tempo which was a notch high through out the concert, or the pitch itself. Pallavi was a bit of letdown.
Anoor Ananthakrishna Sharma was very pleasing. Some of his left side play was awesome. He was rock solid, even when the other two artists were slipping at times. He and Narayana Murthy played a beautiful tani avartanam.
I would rather cherish those gaulipant and harikamboji moments from this concert. They were worth the time and effort.