Vocal : Amritha Murali
Violin : Mathur Srinidhi
Mrudangam : Prof V Krishna
Ghatam : Phanindra Bhaskara
01. SLOkam ( sadguru daSasya? vANi) – nATa
02. jAnaki ramaNa – Sudha sImantini – Thyagaraja ( S )
03. endukku nIrdaya – harikAmbOji – Thyagaraja ( O, N, S )
neraval & swara @ ‘ dharalO nIvai tyAgarAjupai‘
04. ninnu vinAga mari – pUrvikalyANi – Shyama Sasthri ( A,N )
neraval @ ‘kAmitArttha phaladAyaki nIvE’
05. brOva bhAramA – bahudhAri – Thyagaraja
06. srI nIlOlpala nAyikE – nari rItigauLa – Dikshitar ( A,S )
07. Saravanabhava guhanE – kannaDa – Papanasam Sivan
08. raksha bettarE doraku – bhairavi – Thyagaraja ( A,N,S,T )
neraval & swara @ ‘ sangItapriya tyAgarAja gEyuDaina – doraku’
09. SLOkam ( kastUri tilakam lalAta) – rAgamAlika ( nAdanAmakriya , kApi, chenchurutti)
nInyAkO ninna hangyAkO ranga – rAgamAlika ( chenchurutti, punnAgavarALi, nAdanAmakriya,kurinji?, bhAgEShri, kApi, sindhu bhairavi) – Purandara Dasa
10. sundar tE dhyAn (abhang) – ?? – Thukaram
11. thillAna ( nadru tadhIm dhiraNa) – sindhu bhairavi – Tanjavur Kalyanaraman
12. mangaLam – saurAshtram, surutti – Tyagaraja
Amritha Murali’s concert despite a cold start, picked up steam midway and finished with a bang, to an enthusiastic audience at Nadasurabhi. 30 mins into concert, I was having second thoughts on my decision to come and attend the concert, diplomatically seeing off a guest to be on time at the hall. Having taken more than 10 mins tuning the tanpura ( such unprofessionalism, keeping the listeners waiting) she started off with a neat slokam and instead of continuing with the same raga, skipping varnam, started off with the sudha simantini kriti. Some not very appealing ‘padachedams’ and the damp ‘rakta naLina daLA’ did not really impressed me. She extended this with few rounds of swarams. The next hari kamboji also came and went without much ripples albeit the neraval and swaras.
Purvikalyani was the first detailed alapana. It started very elegantly, but traced a sinusoidal path of its execution ( some interesting takes moving to a phase of indifference). She, however, chose a brilliant kriti of Shyama Sastri given it a long and deserved treat, adding to some rounds of neraval. A quickfire bahudhari, as a filler seems to have set the shift of ‘plain’ to a different level.
Nari ritigaula alapana, started with clear indication of the raga ( not to my limited knowledge to differentiate) and there was an acknowledging nod and smile from Srinidhi. Dikshitar’s kriti, I thought, was beautifully rendered, with a delectable kalpana swara at the first line of ‘madhyamakala sahityam’. I like when artists sing the complete line of the madhyamakala sahityam using the swaraksharam. Sanjay did the same last week at NMGA for ‘sadAchalESwaram’ in bbhUpALam.
After another filler in kannaDa, she launched herself into an elaborate bhairavi. A decent exposition of the raga from her side, with even better exhibition from Mathur Srinidhi. Raksha bettare was again a pleasant choice and she excelled herself in singing the kriti, the neraval at ‘sangItapriya’ and the kalpana swara. At the first speed swara singing, she enthralled the audience with a long phrase of sarvalaghu swaras before moving into the second speed. Brilliantly conceived and executed. By now, she was brimming with control and confidence. The percussion duo, supporting the main artist eloquently until now, played an entertaining tani avartanam.
Post main is noted for the ragamalika slokam and the devarnama sang again in ragamalika spanning into seven ragas. She closed the concert with a marathi abhang and a thillana.
Amritha Murali, by the time she concluded her concert, had won the the audience. Despite a cold start ( like playing cricket in a wet ground where the ball does not come up to the bat), she managed to turn it around and deliver a good concert with some clever selection of kritis. I would still like to see a bit more energy transpired from the performer to the audience. She is a good musician and will watch out for her concerts in Bangalore.