21.12.25 Sunday 4.00 p.m.
Dr Subashri V - Vocal,
Vid. Madan Mohan - Violin,
Vid. Akshay Anand - Mridangam,
Vid. Harihara Subramaniam - Ghatam.
V Subashri ( a student of Dr Sowmya) gave a delectable concert with a sub main exposition of SrI tyAgarAja's kalAvati and a rendition of okapAri jUDaga, followed by a rendition of kalAvati kamalAsana yuvati - another namesake rAgA(different one) by SrI DIkshitar, then a main of bhajarE bhaja mAnasa rAmam in KannaDa. RAga choices were unusual. She has the natural resistance in the voice that allows her to express nuances:
https://www.youtube.com/watch?v=Xe_UkyUXEPc.
Well supported by Madan Mohan ( SrI R.K Sriramkumar student) with his characteristic RKS sensitivity and Akshay Anand ( SrI Kalidas disciple) with his unique nowadays, a rare style. Dr. SR's verve she has inherited - which I would say was not much there in Sowmya's concerts. Some traits skip a generation, as they used to say
Another musician with similar type of voice ( relatively in lower range) is Svarathmika Srikanth.
She also opened viSalAkshIm (kAmavardhini or PantuvarALi) earlier without Alapana - somewhat strange given the grandeur of rendition by Smt. DKP/Sri DKJ. And took the madayama kAla caraNam for neraval - instead of kASI rAgnI kapAlini - which has viSranti as well as verve.
And in BhajarE Bhaja mAnasa , some of the sangatIs , she paused as though neraval is about to start. I will need to find the time line.
tODi was taken up post main - yAr poi SolluvAr of Ghanam Krishna Iyer - very unconventional concert. So big note ( periya svaram) rAgams occupied center stage , while small note ( cinna svaram) rAgams went into the vestiges of the concert - which made it more appealing!
I have not noted some of the shorter renditions in between.