R Vedavalli - Vocal
V Sumithra - Vocal Support
Usha Rajagopalan - Fiddle
Manoj Siva - Mrudangam
Musiri Chambers, 9th April 2006. 4 pm
intha chalamu - bEgaDa varNam - Adi
yajnAdulu sukhamanu - jayamanOhari - Adi - T (S)
mEru samAna - mAyAmALavagauLa - dEsAdi - T (RNS)
mATi mATiki - mOhanam - cApu - T
varugirAnO vArAnO - kannaDa - Adi - Arunachala Kavi
kanogonu saukhyamu - nAyaki - Adi - T (R)
giripai nelakona - sahAnA - Adi(2) - T (RS)
nIvADanE gAna - sArangA - kaNDa cApu - T
muttu kumaraiyyanE - sankarAbaraNam - tisra Ekam (2) - rAmasvAmi sivan (RTNS)
taniyAvardanam
slOkam - 'vAmE bhUmisudA' - sAvEri, shanmukhapriyA, dvijAvanti
rE rE mAnasa - dvijAvanti - Adi - ST
tillAnA - hamsAnandi - Adi - Mudicondan Venkatarama Iyer
nI nAma rUpamulaku - saurAshTRam - Adi - T
svasti prjApya - madhyamAvati.
The concert started with a nice short sketch of bEgaDa to be followed by the varNam. The jayamanOhari kriti was rendered with nice svarams.
The first AlApanai, mAyAmALavagauLa, was a neat elaboration of the ragam showing essential phrases. The kriti was rendered in dEsAdi tALam with beautiful neraval and svarams at 'gaLamuna shObhillu kanaka bhUSaNamula'. The mOhanam kriti which followed was rendered in a leisurely pace showing the gamakkas and the lakshaNas of the rAgam. The kannaDa kriti was good also.
The nAyaki AlApanai was something to remember for quite sometime to come. It showed the essential sancArams of the rAgam with all the aesthetics thrown in. The kriti was rendered well. The sahAnA AlApanai which followed was another masterpiece with a lot of classism filled in it. The kriti was rendered with beautiful svarams at the pallavi line with the sArangA kriti to follow.
The main course, was a sankarAbaraNam AlApanai with a lot of unheard sancArams and it was very enjoyable. The AlApanai was done very well, with Smt Sumithra sharing some bit. The tAnam which followed was too good also. The kriti, though small, was rendered well with neraval and svarams at the pallavi line. The mEl kAla svarams were rendered in the mEl tALam (tisra Ekam, 1 kaLai) in which the tani also was played. The slOkam and the dvijAvanti kriti were good also.
The violinst was good in all parts. Her rAga essays, of mAyAmALavagauLa, nAyaki and sahAnA were all very good. She only got to play the tAnam for sankarAbaraNam which did a good job with. Her neraval and svarams were all good and measured upto the main artist.
The mrudangist did a very good job with accompanying. He played according to whatever was sung with great anticipation. His tani was good also.
bharath