1. Marachiti(varnam) - bEgaDa -patnam
2. inta parAkA (N,S)- mAyamAlavagowlai - Anai AyyA
3. brOva samana??(R,S) - gowri manOhari - patnam?
4. gAnamudA pAnam - jyothiswarUpini - kOteeshwara Iyer
5. dhyaanamE varamaina(R,S) - dhanyAsi - T
6. ilalO pranathArthi - atAnA - T
7A. kamalap padha malariNai maRavaadhE (R N S T) - harikAmbOdhi - pApanAsam sivan
7B. tani
8. haridAsulu - yamunA kalyAni - T
9A. viruththam "vizhikku thunai thiru menmaLar pADangaL" - mukhAri + shanmughapriyA - arunagirinAthar???
9B. saravana bhavA - shanmughapriyA - pApanAsam sivan
10. thillAnA - rAgeshri - LGJ
11. charana kamalAlayathai "thirrupuggazh" - shenjuruTTi - arunagiri nAthar
12. pavamAna (mangalam)
The start was a rare varnam by patnam in bEgaDa , this was the only number along with yamunAkalyAni which was just good . MM gowlai brought early excellence , his rendition had shades of ssi excellence spread, the neraval was in the usual line "kannatalli taNDri"and he came up with some very good swara patterns.
A detailed alApanai of gowri manOhari followed, just when I was thinking whether he will continue in ssi style where I thought he will bring gurulekha , he surprised all of us with a rare krithi by patnam? Swaras were very good.The famous jyothiswaroopini was rendered just good , perhaps I felt he could work little more in diction there.
dhanyAsi alApanai was brilliant had no shades of asAveri or tOdi , every alApanai had distinct dhanyAsi. The rendition of dhanyAsi gelled well and he picked quite a bit of speed in swaras and was aesthetically delivered very well. dhanyAsi followed by atAnA perhaps could have been avoided , as there is an overlap but he delivered quite well.
A very rare harikAmbOdhi followed (how difficult it is to distinguish harikAmbOdhi from kamAs in an alApanai) , his krithi rendition was very good ,the neraval line was very apt in "thirumAlL maruganE saravana bhavanE deva deva". He really was excellet in both neraval and swaras there.
haridAsulu was just ok to good. His viruththam was very good and the finish in saravana bhavA had lot of vigour . lalgudi's thillAnA was excellent , the last thirrupuggazh was delivered excellently. Overall a great performance by prasannA.
About chArumathi raghurAman
Having heard mostly her along with ranjani gAyatri, she gave excellent support . She had excellent shruthi suddham and her replays were perfect. Every alApanai was nice particularly I liked her gowri manOhari and harikAmbOdhi . Infact only when she played harikAmbOdhi , I was more sure it was harikAmbOdhi .
The mridangist ganapathirAman played very good it must have bit taxing without supporting pakkavAdyam for a concert of 2 hours and 45 minutes. I just realized he did not switch on the mike at the end of tani . Possibly we could have adjusted the sound better , but all three made no fuss at any time.
On a subtle note ,we conducted almost like a sabha , at the end of the first varnam in line with tradition ,the artists were garlanded .At the end of tani we went with shawls too. All this was done not by us , but by the seva samAjam and since I grew up only here at nungambakkam it appeared very fulfilling to me.
Certainly both chArumathi and prasannA seem to have enormous potential.I am little worried about prasannA taking up software, the software - cm is a great fit for a rasikA, but for vidwans and vidushis I only wish I am wrong
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