Refined, mature
SVK
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Vasundhara Rajagopal's recital proved a point — that familiar kirtanas enhance the status of a concert.
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When a salubrious voice gains maturity in presentation, the performing style becomes smart, confident and successful. Vasundhara Rajagopal's concert under the auspices of the Music Academy provided this impression. She has been gradually ascending the ladder, not on the spectacular, but built on refinement, the corner stone of exposition.
The maturity aspect of the recital lay in the sense of proportion in the raga alapanas of Aarathi, Poorvikalyani and Khambodi and in the handling of swaraprastharas — nothing taken to excess.
Aarabhi was briskly tackled. Poorvikalyani was well spread and Khambodi progressed fluently negotiating the tara sthayi sancharas with cadences and skilful vocal manipulation.
Her confidence and competence included the discipline of a demanding sadhaka regimen. The willing submission of the voice to manodharma enabled Vasundhara to have a grip on quality.
Concert demands
Being Neelakanta Sivan Day, all the songs were his. Here one aspect of the contents of a concert by any musician got strengthened — that familiar kirtanas enhance the status of a concert. Though many kirtanas of great vaggeyakaras exist, only a few are sung and appreciated. If even great musicians have chosen this path, the reason is that these songs fulfil concert demands, though others may be musically good.
Though "Chitta Arul Siva Sakti" (Nattai), "Neelakanta Neelakanta" (Aarabhi) and "Teruva Deppo Nenjay" (Kamas) were received well, it was the two familiar songs "Ananda Natamaaduvar" (Poorvikalyani) and "Endraikku Siva Kripai" (Mukhari) that established a rapport with the rasikas. The Khambodi kriti, "Velaayudane," was rendered effectively encompassing all the aspects of its shape and structure.
Gracious response
Padma Shankar, violinist, responded in a gracious manner in her solo versions of the three ragas. Khambodi, which she wrapped up in elegance and grace, was particularly noteworthy.
Thanjavur Kumar (mridangam) and Pudukkottai Ramachandran (ghatam) were modest while playing for the kirtanas and in the tani were more enterprising.
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