The remarkable thing about the Smt. dhanammAL version of vAsudEvayani posted is that, given their adherence to gamakas, they straight launch and splash into the sea of the rAgA, what with their starting phrase ending on a refrain in between N3 and D2 somewhere.
bAgu mIrA with a dhIRgha on mIra again straight landing on pmg in the lower side as well, is a gama gama southy ground and seasoned sAmbAr dish!
naTanamu just winds up deftly with a naLinam, relishing the middle regions of the rAgA in a calm and deliberate fashion. It also avoids unnecessary elongation of hrasva ( short) syllables.
As regards comments on GNB version (unless now somebody edits wikipedia - I am going to assume it is true) , it was done with an express populist purpose, with all musical euphoria! It also has come very far : https://youtu.be/QvP8zDw-nEM?t=530
- hey hey hey even otherwise timid Arun is fired up
Wo! Wo! Wo!
The dhanammal version is very characteristically feminine - I suppose there is an express purpose for it - in the abhinaya tradition ( over to dance experts!).
Also while it fixes few padaccEdams like tauvArikuni kanarE , patita pAvanuni tA vEDUcunu, this version introduces a new one in rAgA tALagatu lanupADucunu!
But it is a solid version to build on
- now starts the fun! I will take it up in kriyas/angas/lyrical/laya thread!