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Nandita Ravi has created a niche of her own in the field of Carnatic music. Taught by her mother, Rama Ravi, and also by D.K. Pattammal, Nandita follows a traditional approach in her concert. Her concert in Kochi, which started with Natta varnam, went on to unfurl ‘Vallabha nayakasya,’ embellished with jathis and chitta swaras. The Varaali raga kriti ‘Mamava Minakshi’ in Chaapu tala had a neraval with neat endings and swaras.

Nandita has a balanced, toned voice that retains a pleasing serenity. ‘Samanamevaru’ in Roopaka tala had a neat neraval for ‘Palukku palukku laghu tene’ and was followed by kalpanaswaras marked by korvais in sarvalaghu.

The vocalist rendered the Suruti kriti ‘Neelavarna Pahimam’ by Irayimman Thampi and ‘Panchabana tanoohara’ in Poorvikalyani by Swati Tirunal. In the latter part, there were oft repeated phrases in the swara sancharas and there were fragments that were not interwoven smoothly. ‘Palayamam Parvatheesa,’ a Dikshithar kriti in Kannada raga set to Roopaka tala, stood out for its melodic content.

The Pattammal masterpiece ‘Dasukovalena’ in Todi was the major item of the concert. The fast raga elaboration included all the essential phrases. Ajith, on the violin, delicately portrayed the key phrases of the raga. The Jhampa tala was tricky for the neraval and swaras. The vocalist did not completely stick to the matras in the sahitya of ‘Soumitri tyagarajuni’ for the neraval and the mukthaippu had a spontaneous quality about it.

Thripunithura Nilakantan on the mridgangam gave fine and reverberating touches on the instrument and the unprompted rhythm patterns was appreciated by the audience.

Kannan complemented him on the ghatom. Nandita wound up her concert with ‘Bhaja bhaja manasa raghavendram’ in raga Tilang. The programme was organised by Kerala Fine Arts society.

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