Hauntingly blissful Todi
SVK
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Bombay Jayashree Ramnath's singing resembled the uninterrupted flow from a perennial aesthetic spring.
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Bombay Jayashree Ramnath.
An ecstatically rhapsodic Todi raga alapana, kirtana "Dasarathi Nee Runamu" and neraval, given tranquil shape by the peace-inducing voice of Bombay Jayashree Ramnath in the Krishna Gana Sabha Gokulashtami series, was not just a professional exercise but an uninterrupted flow from a perennial aesthetic spring.
It was a pure gayaka Todi, uncontaminated by nagaswaram influence, which indicated her musical ideal was on a higher plane than the hackneyed. Hauntingly blissful, in every characteristic oscillation (asaivu) of Todi lurked supreme joy. She wove a serene web of pleasing fluency.
The kirtana rendering was emotionally up-beat. In both the alapana and song she was herself deeply engrossed in the enjoyment of the raga's sanctity.
As she began the kirtana, the listeners got ready for some glorious music. A picture of melody and maturity, Jayashree seemed to emphasise Tyagarja's dictum, "Shaantamu Leka Sowkhyamu Ledu".
If Todi was monarchic, Kanada ("Sri Narada") and Sahana ("Sri Kamalaambikaayaam") alapanas were rustlingly luminous and the kirtanas stunningly graceful.
In between, her Kalyani vinyasa ("Himaadri Suthe") was caressingly breezy with rippling sancharas. She revealed a sound instinct for sangita's blessings to breathe reposeful anubhava into her effort.
Embar Kannan was the violinist whose raga versions in the solo session were comprehensively chaste. His play fitted well with Jayashree's sensibilities.
Her calm influence was such as to influence Poongulam Subramaniam (mridangam) and Karthick (ghatam) to provide controlled percussive support.
Eloquent rich tone
A singular quality of expressional gracefulness through eloquent rich tone embellishing ragas and kirtanas with enchanting nuances formed the fabric of the veena recital by Revathy Krishna for Saraswathi Vaggeyakara Trust. It stems from her superior faculty to perceive sukham.
An abundance of elegant sancharas lighted up the ragas Kalyani ("Etaavunara"), Malayamarutham ("Manasa Etulo"), Begada ("Gaja Vadana," a composition of Vittala Dasa). "Maanasa Sancharare" (Sama) and "Radha Sameta Krishna" (Yaman) struck a contemplative mood.
Bala Shankar (mridangam), Murali (ghatam) and Manikandan (keyboard) provided relevant support without drowning the subtle veena sound.
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