Anand Vishwanathan - Violin
BS Prashant - Mridangam
Lakshminarayana - Morching
mahAgaNapatim - nATTai - Eka - MD (R, S @ pallavi)
mAru palukaga - shri ranjani - Adi - T (R, NS @ dArinerigi santasillinATi)
sAvEri sketch
bhAayAmi raghurAmam - rAga mAlika - rUpaka - ST
hAmirkalyANi sketch
A composition by MBK where he says bharata comprises of bhakti, rakti and something else starting with ta. :$ It was set to mishracApu tALam.
ADa mODi galadE - cArukEsi - Adi - T (R, S @ pallavi, sometimes to mATalADa mODi galadE)
tani
There was then a Kannada song by PD in what seemed to be MD-style gurjari after that.
It was a good concert.
It was evident that Amrutha has taken a training for her voice (Nick said somewhere) -- she didn't have the usual flask of hot water either, and yet her voice was consistent (through the course of the concert), and generally even (across the sthAyis). However, I felt she could sing at a slightly greater shruti, which would ease the mandra sthAyi and also impart greater clarity to jAru/brigha differences. I don't know if that will be so taxing as to not be worth it.
All songs were sung by and large with discipline, and the renditions were satisfying. Manodharma was also in alignment with the songs. Swaras were almost entirely sarvalaghu. She had chosen a somewhat faster kAlapramANa for mahAgaNapatim and mAru palkaga. Even for ADa mODi galadE -- considering it was the main.
The violinist also was very disciplined, and his swarams were very well gelling with Amrutha's sarvalaghu style. Moreover, EVEN his AlApanais were very disciplined, and there was nothing unwanted within them.
There were no distinct "Aha" moments for me, though. They will come later.
The percussion department gave good support. The tani could have been a bit stuffier and shorter, though. Lakshminarayana followed Prashant's somewhat complicated first-kOrvai precisely, but Prashant had repeated it quite a few times in I think three speeds (and increasing volume). The morching was also beautifully resonating with the shruti during the tani.