sAmi daya jUDarA - kEdAragowLai - Adi -
raghunAyakA - haMsadhwani - Adi - T (S @ pallavi)
sArasAkSha - pantuvarALi - Adi - ST (R, NS @ bhAmini samudAya <?> - caraNam second half)
santAna gOpAlakRShNam - khamAs - Adi - MD (R, S @ narttana muralIdharam)
nIvADa nE gAna - sAranga - khaNDacApu - T
kArtikEya gAngEya gauri tanayA - tODi - Adi - PS (R, NS @ mAlmaruga, T)
alar shara paritApam - suruTTi - mishracApu - ?
kaNDudhanya - behAg - rUpakam - PD (R)
mAdhava mAmava - nIlAmbari - Adi - NT (R)
karuNai deivame - sindhubhairavi - Adi - Madurai T Srinivasan (R)
nI nAma rUpamulaku - saurAShTra - Adi - T
The varnam and the hamsadhwani piece were begun at a slightly faster speed, giving a brisk and energetic beginning to the concert. The pantuvarALi alapanai was very effective, a few more pauses at madhya ga would have made it even more moving. They were there, but then the AlApanai began itself around the pa and so on ... The neraval was fantastic ... I was eagerly waiting for a round or two of samakAla neravals but fast neravals began a little too soon. The khamAs alapanai was very, very chaste though structured unorthodoxly to finish at the tAra sa. kAkali niShAdam usage was minimal.
nIvADa nE was rendered well too, but the "split fingering" sangatis could perhaps be a little more strongly emphasised.
The tODi AlApanai was very beautifully developed. The swarams had a nice mix of kaNakku and sarvalaghu. I was eagerly waiting for the ma to be approached from higher up, but it didn't happen.
Sri Manoj Siva, who'd followed Sri Varadarjan like a shadow (who said only violinists could do that?
) played a lovely tani.The suruTTi, as ever, was lovely. They should make it compulsory in all concerts!
The behag alapanai was very interesting and well-developed. The neelambari sketch was also good, and the song was played very movingly.
The concert was an experience by itself (my comments on pantuvarali and todi just show how greedy I could be!), and I hope Sri S Varadarajan performs solo concerts more often.