Vid. Sai Rakshit - Violin
Vid. Praveen Sparsh - Mridangam
Vid. K.V. Gopalakrishnan - Kanjira
"sarvam VishNumayam" thematic series
ninnADa – kannaDa - extensive svarams, vervy kOrvai.
malayamArutam – rAgam
padmanAbha pAliTEbha – rUpakam – SrI svAti tiruNAL – svarams
kAngEya vasanA dhara – Hamir kalyANi – Adi
Urmika – rAgam
entani vina vintura – Adi trISra naDai – Pallavi SESha Iyer
neraval @ pankaja nAbha nItO pantamu lEta
Svarams were electrifying. A pace setting kriti and a rAgA that overcomes the limitations of SimhEndramadyamam , apt for a kutcheri front line. Had citta savaram. Ragam close to Hamsanadam shade. Vijayasarasvathi that shares avarOha with the sa-ga ascent with dhaivata makes it so different. Has a bit of hEmavati touch in the lower side, since d1 is absent.
kaNakku svarams with kArvais going from 1, to 2, to 3.
vandE sada padmanAbham - navarasa kannaDa - Adi - SrI svAti tiruNAL
Karaharapriya rAgAm. A good virtuous presentation by the vidushi and the violinist.
Satatam tAvaka pada sEvanam - Adi 2 Kalai - SrI svAti tiruNAL
The kriti is just an overlay over the rAgam – does not bring additional musical verve.
Nerval @ mama hridhi vAsanISam , emphasis was on uttarAnga – madhusUdana saurE – she began neraval mid-line.
Nice returns here by Sai Rakshit. She did nyAsam in madyamam emitting serene phrases before lifting it note by note.
She sang the same brigha with an ending “ri” ri-ga-ma-pa-da-ri…, immediately following with another same svara pattern ending in “ga…” ri-ga-ma-pa-da-ga… Thought she was making a statement that both are valid
. Over to experts.Percussion support throughout the concert was with profuse rolling(uruTTu sOl) phrases.
Tani was also done with mostly naDais with uruTTu soRkAl.
entu nJan iha – nilAmbari - Adi – SrI irayimAn tambi
athadhadAnim vismitOyam ( from ajAmiLopAkhyAnam) – sindhubhairavi – rUpakam – SrI svAti tiruNAL
centAr SAyaka rUpa – behAg – miSra cApu - SrI irayimAn tambi – A short rAga sketch
bhujaga SAyinO nAmA mangalam. – yadukula kAmbOdhi – rUpakam.
Began with dayati padmana jAla manjasa
Tune is similar to the very familiar jayati dEhitam ashThapati, immediately catches the attention of those that are rooted in sampradaya bhajans.
The singer has a tendency to go off Sruthi in spots , only very few times in the concert. In kannaDa , in URmika and in Karahapriya, an occasional off note. Her voice with thin tone is very nice and refreshing to listen to. The music has gravitas in terms of rhythmic verve.
A very fulfilling concert from Vid. N.J. Nandini.