Sumitra V gave a scintillating concert for Music Circle at Raga Sudha Hall on the 7th. She was supported on the violin by K.Venkatasubramaniam and K.V.Gopalakrishnan on the mridangam.
The Main pillars , rather the two gems on which the entire conert was woven were Saveri and Todi. Nothing more left tobe explored in these two ragas. With such maturity and a fascile approach to singing, it was heartening to feel that "Classical" carnatic music will still live for some more time.
In these days of sheer extravaganza, when sound , creative music with ample maturity, is something that is dying, Sumitra gives us hope .
She sang Durusuga in Saveri ( R,N,S), neraval at Parama pavani , starting with Pranatharthiharurani. Usually the neraval is heard at Narayani and this was a happy welcome change. The multitudes of variation she gave for Pranatharthi and parama pavani were simply
intelligent and would look too "small" if I try to explain it here. The correct use of the Saveri nishada, with a slight drop , was effectively used by her creating a curiosity inminds of listeners to whom this may sound new.
The crown in the jewel was Todi.
We all keep talking of senior musicians and stalwarts rendering Todi and name them after that. What was so enchanting about this Todi was that a young girl could render this raga with absolute aplomb and maturity, presenting myriad hues of the raga. So many patterns, so many sancharas and not one repeated, were the hall mark of her Todi.
Thedi Thedi Todi paadara kaalathile, ippadi oru Todi !!, from a young artist, only those who heard it would know.
Sri Krishnam Bhaja manasa, was another gem added onto the raga gem. Sedately rendered with all the sangatis, she went on to sing to neraval at Venugana lolam ( ara edam) instead of the oft heard Sankha Chakra Gadha. It was so refreshing to hear this. The usage of different aspects of the Todi gandhara was brought by her so effectively in the swara sancharas.
Venugana lolam in different patterns and the neraval in three speeds with immaculate swara passages defined the concert.
Dina mani vamsa, Vachamagochara ( Kaikavasi), Ramabi rama ( Durbar), Enna solli azaithal,were some other gems she aorned the concert with.
The Desadhi tala she adopted for Dinamani and Vachamagochara is something unique only to the Vedavalli school and this tala pattern with a veechu and three beats puts the song in the right gait and framework as against the popular " ondra eduppu" adi talam.
Some rasika , a long time back in this site had mentioned that Sumitra is only fit to sing behind her guru!!.
I would sincerely request that he / she ( and many more) take another hearing of a concert of this brilliant youngster who is boundless in her creativity without any extravaganza.
She was ably supported by Venakatasubramaniam and Gopalakrishnan, who understood the aritst well and supported her both technically and aesthetically well.