Vocal : Sudha Raghunathan
Violin : Charulatha Ramanujam
Mrudangam : Patri Satishkumar
Morsing : Bhagyalakshmi Krishna
01 vanajAkSA ninnE kOri ( varNam) – mandAri – Adi – Mysore Vasudevachar
02 vAtApi gaNapatim bhajEham – hamsadhwani – Adi – Dikshitar ( S )
03 bhajarE rE mAnasa – AbhEri – Adi – Mysore Vasudevachar
04 nannu brOvu laLitA – laLita – Mishrachap – Shyama Shastry ( A,N,S )
neraval @ ninnuvinA evarunnAru mA gati janani’
05 mella mellanE bandanE – mOhanam – Adi – Puranara Dasa
06 cEsinAdella maracitivO O rAmA – thODi – Adi – Thyagaraja ( A,N,S,T )
neraval & svara @ ‘asakonnaTi nannala pincuTaku mundu’
07 RTP – chatur rAga – mishra jhumpa, khaNDa naDai , 5 aksharam( +1 beat ) Eduppu
rAgam & tAnam in shudha dhanyASi, karNaranjani , shubha pantuvarALi , bEgaDa
pallavi lin : ‘nArAyaNa namO nArAyaNa shrI satyanArAyaNa, anudinamunu kAvumayyA’
swaras in shudha dhanyASi, karNaranjani , shubha pantuvarALi , bEgaDa
ragamalika swaras , shrutibhedam from shudhadhanyAsi are shudhasAvEri, mOhanam, madhyamAvati and hindOLam
08 viruttam ( koNDal vaNNanai kOvalanai ) – kApi
enna tavam seidanei – kApi – Papanasam Sivan
09 ugabhOga ( baliya manege vAmana bandantE ) – hamsAnandi, mAND – Purandara Dasa
bArO krSNayya – rAgamAlika – Adi – Kanaka Dasa
10 thillAna ( dhIm tadara dAni dhiraNA ) – rAgEshri – Lalgudi Jayaraman
11 mangaLam – saurAStram – Thyagaraja
Thus the second leg of the 25th anniversary celebrations and Music Festival began. Nice selection of compositions. She showed her class in the Pallavi. Well, it was an afterthought. The audience, filled the hall, were loud with their chant of ‘devotional’ on her poll after the main. The time was 8:45 and she was concerned that the concert might extend to 9:30. To our delight, she decided to sing a pallavi instead of the long chain of the same often chewed cud.
And the Pallavi was top class. Very unusual combination of ragas in a 4 raga pallavi. Taking the first line ( or a part of it) of a popular composition of each raga and forming a pallavi line is not new. But it’s the way she dealt with it is commendable. The alapana was ok, nothing great to talk about. Even the switch from one to other wasn’t a smooth glide. But from tAnam, it changed. The maneuver was exquisite. The transition, the random jump from one to the other raga, the raise and fall of the ‘sthAyi’ , the variations of the speed etc etc were admirable. Except and unwanted involvement of the mrudangam. Her skills , knowledge, intelligence and execution were at best during the pallavi neraval. A complicated talam, the eduppu, the arudi after satyanarayanam and the NAdai and speed variations in trikalam were phenomenal. Full credit to the team. Charulatha was equally adept and delivered commendably well. The nice shrutibhedam shift from shudha dhanyasi, albeit very short was again come out good.
She started with the mandAri varnam and a forgettable vatapi ganapatim in hamsadhwani. The swaras for hamsadhwani was good, but all three participant ( and a mute morsing) weren’t connected well. Lalita was the first alapana, she had to come to the rescue by announcing it to people. Shyama Shastry’s composition with neraval at the anupallavi line and a short round of swaras.
Thodi main with a long alapana. Typical thodi fare. Decent. Charulatha was good in her turn. Cesinadella was a good choice. Fairly elaborate neraval at the anupallavi line with some nice sangatis. Two speed elaborate swara prasthana too. Patri Satishkumar was LOUD ( or the volume setting ) and we couldn’t hear the poor lady with a small metal piece for most of the times. However she came alive, since there was no other sound, during tani avartanam and as always received a lot of appreciation for her skills.
A viruttam followed by kApi and an ugabhOga before bArO krishnayya were the highlights of post main. I like when the artists take up viruttam, ugabhoga or shLokam during the concerts. Lalgudi thillana in rAgeshri concluded the concert with the mangalam.