Vocal : S Sowmya
Violin : Charulatha Ramanujam
Mrudangam : H S Sudheendra
01. pancmAtanga mukha – malahari – rUpakam- Dikshitar ( S )
02. bAlE bAlEndu bhUSaNi – rItigauLA – Adi – Thyagaraja ( A,S )
03. annapUrNE vishAlAkSi – sAma – Adi – Dikshitar
04. ekkAlathilum unnai maravAmalirukka – pUrvikalyANi – Adi x 2 -Thiruvarur Ramaswami Pillai ( O )
05. jAlandhara supIThastHitE – valaji – rUpakam -Muthaiah Bhagavathar ( A,N,S )
neraval & swara @ bhavarOga nivAriNi , bhaktajana paripAlini
06. sudhA mAdhurya bhASaNa – sindhurAmakriya – Adi – Thyagaraja ( S )
07. pArvati ninnu nE – kalgaDa – Adi tisranaDai – Shyama Shasthri
08. sarasvati anniye – kharaharapriya – Adi – Papanasam Sivan ( A,N,S,T )
neraval & swara @ ‘inchOl? shukapANi aLikula vENi’
09. himagiri tanayE – shudha dhanyAsi – Adi – Muthaiah Bhagavathar
10. karuNa jUDu ninnu nammina – shrI – Adi – Shyama Shasthri
11. mangaLam – saurAStram – Thyagaraja
On the ‘Vijayadashami’ day, one was expecting a concert mostly on the theme of devi, and there was no surprise there from Vidushi Sowmya, who presented a good concert at the ‘Kanchi Mutt’ yesterday. She was struggling a bit with her voice and it was evident in the initial part of the concert. It started off well with the malahari composition and the next two three pieces weren’t making any impact, apart from some spirited attempt from the accompanying artists.
Ritigaula alapana wasn’t any great to talk about, and despite one of my favorite kriti in that raga, and her attempt to sing in a very slow tempo, it did not make a lasting impact. Both annapurne and ekkalathilum was further dampened the evening.
However, it changed with valaji. Nice impressive alapana with some beautiful phrases, even bettered by Charulatha in her attempt, was the change in the tide. The corridor of malayamarutam/valaji is always tricky for me, but I got it right here. There was only jalandhara to sing. While the composition isn’t with any great lyrical beauty, it is very appealing musically. Neraval was superbly done, so was the kalpana swaras that followed. Charulatha excelled in her turn, with Sudheendra chipping in brilliantly. Two short kritis in quick succession came in, both were very impressive for their selection. Few rounds of swaras for sudha madhurya was nice.
Kharaharapriya alapana was grand. It started beautifully and despite loosing steam ( and voice a bit) in the middle she ended with some mesmerising phrases. Charulatha was again did a class act in her turn. I was trying to recollect a ‘devi kriti’ in kharaharapriya as the alapana was going on, could come up with ‘bhArati dEviya’ , the Purandara Dasa composition set to tune in kharaharapriya. Saraswathi Anniye was not in my mind and it was a pleasant surprise. Very well presented, nice detailed neraval and some impressive swara prasthana made it worth the effort. Sudheendra in a new appearance was doing a great job through out the concert, also presented a decent tani avartanam.
Post main was quickly wound up with himagiri tanaye and Shyama Shasthri’s Sri ragam composition. A good concert with the theme. Modest first half and pretty good second half , if I may say so.