Vocal : Prema Rangarajan
Violin : Pakala Ramdas
Mrudangam : Mannarkoil Balaji
01 sAmi daya jUDa ( varNAm ) – kEdAragauLa – Adi- Thiruvottiyur Thyagayya
02 vinAyaka vighna nAshaka – vEgavAhini – rUpakam-Dikshitar ( S )
03 SlOkam ( mAtA maragata shyAma) – kalyANi-
srI madhurAmbikE SrI SivE – kalyANi -Khanda Chapu – Dikshitar ( N,S )
neraval & swara @’sOmasundarESwara hrdaya vilAsini ‘
04 mahA tripurasundari – valaji – rUpakam – N S Ramachandran ( A,N,S )
neraval & swara @ ‘ charAcharamayI chinmayI chidambara sharIriNi ‘
05 nI chittamu nA bhAgyamayya – vijayavasantam – dEsadi – Thyagaraja
06 bAlagOpAla pAlaya pankaja nayana – mukhAri – Adi x2 – Swati Thirunal ( A,N,S )
neraval & swara @ pallavi line
07 toli nEnu jEsina – kOkiladhwani – Adi – thyagaraja
08 RTP – shaNmukhapriya – Khanda triputa , 2 kaLai , +1 eDuppu
pallavi line ‘ sa ri ga ma pa da ni yenna pADuvOm shaNmukhanai ninaindu’
rAgamAlika swaras in shankarAbharaNam, rasikapriya, gaurI manOhari
09 SLOkam ( manOjavam mAruta tulya vEgam) – hamsAnandi, bhAgESri, sahAna
entha balavandanO kunthiya sujAthanO – sahAna – Tisra gati – Purandara Dasa
10 jagadIsha panchashara – nAthanAmakriya – Swathi Thirunal
11 tillAna ( tOm tOm tadara tadara tani) – pUrNa chandrika – Pochi Srinivasa Iyengar
12 mangaLam – saurAshtram / madhyamAvati – Thyagaraja
Vidushi Prema Rangarajan and the team presented a good concert at the Indiranagar Sabha yesterday. The concert, to her reputation, was again filed with a lot of ‘not often heard’ kritis.
After the brisk varnam in kEdaragaula and the Vinayaka kriti o Diksitar, she quickly uped the gear with a slokam and the dikshitar kriti Sri Madhurambike in kalyani. I found both the sloka and the kriti appealing. She did neraval at ‘Soma sundareswara’ to some detailing accompanied with kalpana swaras. Valaji alapana was prertty decent, so was the violin reply. The kriti of N S Ramachandran was new to me, and she did a good job with the neraval and short sets of swaras. Another rare rendition of nI chittamu came in as a filler before somewhat elaborate mukhAri alapana. Alapana had the typical mukhari phrases , repeated by the violinist in his turn. Balagopala was also a pleasant surprice with some good sangati’s. She chose the pallavi line for neraval with some intricacies around pAlaya pankaja lOchana.
A kokiladhwani filler came in before the elaborate , 2 phased alapana of shanmukhapriya. Somehow the violin solo wsnt all that impressive, may be started off a bit jerky. A swara sahitya pallavi ( purvangam with swaras and uttarangam with the sahitya) line , she announced it prior to the start, was interesting. The palavi wasn’t long as she quickly moved to ragamalika swara. Swara was sung in 2 avartanams ( in 2 speed), changing the ‘shanmukhanai ninaindu’ to the appropriate raga name. Trikalam was done post the tani avartanam concluding a decent Ragam Tanam Pallavi.
Accompaniment was in general good. Ramdas was better during the neraval and swara phrases. his valaji and mukhari was also pretty good. Tani Avartanam, withou any support of upa pakkavadyam was done very well. Post main had a ragamalika slOkam followed by a dasara pada tuned in sahana ( in the lines of vandanamu) and the nathanamakriya kriti of Swathi Thirunal. A Purnachandrika thillana concluded a wel presented, in terms of kritis and ragas, concert by Prema Rangarajan.