MSN Murthy
Mannargudi Easwaran
Vinod Seetharaman
KVG
mAmava pattAbhirAma – manirangu, N@ kOmalatara pallavapada kOdaNDarAma, MD
Kapi narayani – sarasa sAma dAna, N@ hitavu mATalentO bAgA balkitivi, T, S
Kantamani - pAlintuvO pAlimpavO, T, R, S
RTP- Arabhi
Pallavi – in triputa/misra, kanda, tisra, chatusra
paramAnanda paramAnanda Ananda Ananda nanda nandanA sanAthanA
Thani
Marulu konnadira – senchurruti
bhAvayAmi gOpAlabAlam – yamauna kalyani, Annamacharya
The concert was impeccable from the first notes. It had both classics and rarities showcasing her crazy lush repertory. She opened with Mamava pattabhirama and ended with ‘bhAvayAmi gOpAlabAlam.’ In between came kapinarayani, kanthamani, and RTP in arabhi and Dr. Rama’s artistic wherewithal did full justice to these monumental works, making each song a beautiful journey…
MD’s beguiling composition ‘mAmava pattAbhirAma' came with vocal authority, passionate restraint and clear enunciation of the text and she added ornamentation to the majestic phrase, ‘kOmalatara pallavapada kOdaNDarAma’ with elegant lyricism and effortless power that is a hallmark of her style and the interplay between them coalesced into a swaying processional - unhurried, but compelling all the same.
Then she finessed the rhythmically driving ‘sarasa sAma dAna’ as she drew out its cadence with soft curves summoning agile tone without resorting to excessive vocal. Then she gracefully shaped the phrase, ‘hitavu mATalentO bAgA balkitivi ‘, by exploring the rhythmic subtleties followed by a sweep of lilting, machine-perfect swarams with consummate technique with Murthy, Easwaran sir, Vinod Seetharaman and KVG enhancing the vibrancy of the work leading into kanthamani.
kanthamani -
Marshaling her virtuosity, Dr. Rama invented the ragam while traveling along the notes by blending the registers and gliding gently with vocal refinement and seeming ease. But at best is her mandra staayi sancharas, as she pretty much redefines that tough to chart territory with sparkling clarity. It was at once contemplative and riveting. It was well matched by MSN Murthy as he got around the notes in fleshing out beautiful tones with articulate touch.
Then the commanding account of the less-often performed ‘pAlintuvO pAlimpavO ‘, unfolded, emphasizing its majesty and lyricism with essential lilt and sway.
RTP-
Her interpretation of arabhi came with an expressive command, encompassing a full spectrum of registers, supple in the lower register and breathtaking in the upper registers with remarkable purity of tone and MSN Murthy vividly drew out the melody with sensitivity.
Tanam unfolded over a gentle humming that increased in intensity with her ethereal voice hovering over the syllables cushioned by the melody...
The star of the evening was her 20-minute scholarly exploration of the lilting pallavi defined by its myriad nadais. She unleashed her virtuosity with flair by anchoring the text with the grace of the melody in triputa/ misra, kanda, tisra, chatusra, with her mastery of technicalities absolute and the rhythm zigzagging obsessively in each lilting refrain of “paramananda paramananda ananda ananda nanda nandana sanathana” followed by swarams as individual notes emerged with remarkable clarity and her intricate maneuvers were grounded with the support of Murthy, Easwaran, Vinod Seetharaman and KVG jelling into the matrix as they kept the melody flowing inexorably forward with fervor. This was followed by thani by the trio with robust vigor and ingenuity.
Then came a moving interpretation of the heart-rending, marulu konnadira, with its dark undertow, in which this languid melody is subjected to melancholic text, vividly depicting the longing and the vulnerability and that earnestness came through…
And she concluded with bhavayami gopala balam, setting off a hearty ovation.
Dr. Rama ingeniously folds self-reflection into her vibrant music making and wields her virtuosity to bring forth the aesthetics of a melody and technique. This can be said of all her masterpieces. She doesn’t take any ragam/composition for granted. Finding fresh spirit in each with lofty musical insights where technicality, melodic sense, and originality mingle with equal force. And she makes it look easy. The way she demystified kanthamani with such depth: quite revelatory, poignant and exuberant by turns. Even in the dissonances, the notes were lucid, the melody delicate, while somehow allowing the notes seem organic by nudging it toward unchartered territories.
And she is grounded with an assurance that her voice, repertoire, and virtuosity are the real and only deal. Not a whole lot of bother goes on with respect to other frivolous stuffs. This paradox of her music, the grandness and the intimacy is what make her music intriguing and her dedication makes it authentic - a paragon of refinement and musical integrity to say the least. I conclude my thesis on this consummate musician
So I am already increasing my qualifications to learn Sanskrit 
