Classical vocalist Aishwarya Vidhya Raghunath’s two CD pack shows promise.
Aishwarya Vidhya Raghunath, a Bangalore based promising vocalist, with Pakkala Ramadas on the violin and Nellai Balaji on the mridangam, puts on track the programme with Ponniah Pillai’s Ata tala Varnam ‘Kanakangi’ sung in two speeds. The Arabhi kriti of Tyagaraja ‘Chalakallaladu’ with its spiralling sangatis in the pallavi and bright chittaswaram and a fluid flow of sarvalagu swaras are conducive to focussed listening.
The Poorvikalyani development is more than adequate, avoiding a meandering up and down approach, but concentrating on a methodical, purposeful unfolding of the raga swaroopa. Neelakanta Sivan’s ‘Anandanatamaduvar’ has enjoyed a long innings on the concert circuit and the artiste’s embellishment in the charanam with only niraval sans kalpanaswaras is quite refreshing. The violinist could have been provided an opportunity to respond to the raga delineation. Kambhoji is handled with care covering the relevant octaves with karvais, medium and fast phrases with a good measure of musical sensitivity. The tara sthayi exploration deserves appreciation. Occasionally the artist gets carried away by excessive bhava resulting in slightly unmusical sounds interfering with the otherwise melodic prayogas. Ramdas plays a dissertation of substance.
In Semmangudi style
‘O Rangasayee,’ one of the matchless creations of Tyagaraja, is a euphonious interpretation in true Semmangudi style. The expansion of the lyrics ‘Bhooloka Vaikuntam’ in the two tempos and the slow swaraprastharas followed by a shower of well conceived faster solfa chains, and the divisions and subdivisions in the dhaivatam topped with the final rhythmic sequence have considerable merit.
Nellai Balaji’s tani avartanam played with precision has creditable rhythmic vignettes.
The second CD houses the Padam of Muddu Natesar, ‘Ososi’ in Mukhari, sung with sublime expression, the Paras Javali of Dharmapuri Subbarayar ‘Smara Sundaranguni’ with the prati madhyamam giving it added colour, a ragamalika slokam in Sahana Varali and Surutti with commendable attention to the rakti of each raga, and finally Tyagaraja’s ‘Geethartamu’ extolling the gem among the Lord’s devotees Anjaneya. These leave the rasika with a sense of fulfilment.
The singer has impressively emerged from the chrysalis — the butterfly will make its appearance in course of time with diligent application, discipline and determination.
