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MELODIC EXPERIENCE The recital was a cohesive accomplishment that transported the audience to a realm of tranquillity

The young artiste’s voice is authoritative and well-chiselled. Consistency and sustainability are other qualities characterising it.

Composure enables her to put every element of the presentation on hand into its proper place: manodharma now spontaneously unfurling within the prescribed framework.

She commenced with “Shri Muladhara Chakra Vinayaka” (Shriraga- Dikshitar). A stately progression ushered the audience into the grandeur of the Sanskrit lyrics. Apt accentuations, sufficient pauses and supporting gamakas established the intended import of the composer, and the competence of artiste as well.

Clarity and diction did not suffer in any way while she was narrating the lyrics in the mandra sthayi, into which lyrics glide, for a majestic impact.

Some more merits came to the fore in “Biraana Brova” (Kalyani-Tharangapadi Panchanadayya). In strict tune with the shruthi, she described the raga embellishing it with various graces, which were deep, and consistent with the raagabhava. The assiduous singer’s fine modulations remained consistent, retaining all its timbre and vigour even in klishta sancharas — be it in the mandra or the taara sthayi.

Neraval at “Neepaada Pankajamu”, though relatively short, rose to the standards of a full-fledged pallavi expatiation. Swaraprasthara sections, focusing on the nishaada (one of the jeeva and nyaasa swaras of Kalyani) comprised artistically serried solfa strains fluently coming to precise harmonic closes.

Spacious alapana in Bhairavi preceded “Balagopala Palayashumam” (Dikshitar). Meaningful neraval at “Neela Neerada Sharira” carried with it sections of sprightly kalpanaswaras, leading to inspiring thaniyavarthana.

“Sada Enna Hridayadalli” (Vijayadasa-Brindavana Saranga) left no doubt as to her consummated competence, the pith being involvement. A transcending joy beamed forth from the deeper levels of the intellect, the abode of the omnipresent (Nadamurthy), the nada kindling the meditative faculty instantly (“Dhyanadinda Bhajisuve”).

Analogous with, and either as a precursor or sequel to, the above spiritual trend tread “Binnahake Bayillavayya” (Purandaradasa- Revathi). Revathi created a sense of Vairagya a sine qua non for an in-depth awareness in a being besotted with desires remaining forever, unless exterminated by unconditional surrender.

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