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The scholarly singer is endowed with a soft, gentle and melodious voice (at times tremulous). Her style owes unswerving allegiance to the true spirit of sangitha: melody and mood.

The most distinguishing feature was the tempo: slow and measured, adapted for the whole concert. In spite of this, her control over both the laya and expression let no moment of sluggishness or slackness mar the proceedings.

Being thus armed, she brought forth the tenors of the presentations to the audience’s satisfaction.

Heavy but gentle gamakas and a steady gait imparted the required vigour to the Varna (“Saami Ninne Kori” – Mohana – Karur Devudu Iyer). Her pleasing voice complemented the element of devotion the lyrics expected in “Sthanum Bhajamyaham” (Karnaranjani- Muthayya Bhagavathar).

With “Meena Lochana” (Dhanyasi - Shyamashastri) and “Smarasada” (Bilahari- Swathi Thirunal) melodic wafts of Dhanyasi and Bilahari drifted into the atmosphere spontaneously without being tinged by any repetitive articulations.

The ragas were discussed in a methodical progression passing through the prescribed phases, facilitating an appreciation of the ragas in all their radiance (namana kaku). Raga (Natabhairavi), Thaana and Pallavi (“Gajavadana Beduve”) may be tenably cited as another successful accomplishment.

Kumaresh and Ganesh gave a violin concert at the same venue, accompanied by Mannargudi Eshvaran (mridanga) and Amruth (khanjira).

The concert revealed western techniques exerting a noticeable influence over their style.

It was a glittering and a sensational performance. Remarkable command over the bow and strings led to an exemplary demonstration of dexterity. The audience marvelled at the incessantly emerging notes of high tonal values.

Amazing sense of shruthi at the microtonal levels combined with fertile imagination and technical know-how, collectively produced special effects.

Consider “Ninnukori” (Varna - Mohana - Ramanad Srinivasa Iyengar), “Mahaganapathim” (Naata- Dikshitar) and “Raghuvamshasudha” (Kadanakuthuhala - Patnam Subrahmanya) — excellent spirited stuff for the beats buffs.

Whether such special effects can measure up to a melodic piece of serenity, match themselves with an unassuming serene melody, or raise you to a subliminal state (as envisaged by the vaggeyakaras) is something to be contemplated upon.

Now “Nadaloludai” (Kalyanavasanta - Thyagaraja) in the above perspective: perfect synchronisation strengthened by creative musical sequences emerging through deep portamenti, subtle vibratos and fine tremolos, engendered a sensation of wonder.

But the pith of the composition “Brahmananda” was significantly undermined by an effusion of virtuosity.

Further a consummated rhythm-climax spoiled the very substance.

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