Fair account of Mohanam
Bhushani Kalyanaraman.
Bhushani Kalyanaraman performed for Sri Maruthi Bhaktha Jana Samajam, at Nanganallur and gave alluring versions of Dharmavathi (`Bhajanaseya Radha,' Tyagaraja) and Vagadheeswari (`Paramathmudu,' Tyagaraja). She also gave a fine and fair account of Mohanam (`Nanu Paalimpa,' Tyagaraja).
This raga has touched its zenith of elaborate treatment over the years but still weaves its magical charm, which it did, even today. There was an iota of Kharaharapriya in the Vagadheeswari alapana that faded as the alapana progressed. Sruti alignment was also a bit of a casualty while traversing at the top octave.
The swara korvais had genuine signature patterns both for Dharmavathi (at `Niravadhi Sukha Dhayakuni') and Mohanam. She also included `Maa Ramanan' (Hindolam, Sivan) and `Bagayyaneyya' (Chandra Jyothi, Tyagaraja) — the latter had the profundity of the lyrics that spoke well through her voice.
Usha Rajagoplan is one violinist who is no run-of-the-mill category and adapts her playing to equal the stamp and style of the main artiste. She played a neat Dharmavathi and her Mohanam had all the varied sangatis that the instrument is known for. Her answering technique during swaraprastaras exuded an air of confidence. Thanjavur Kumar on the mridangam and Shanker on the ghatam played as exemplary accompanists and their thani had many calculative rounds that won immediate appreciation of the audience. The auditorium, however, has its reverberations on the higher side. The sound level was accordingly amplified to its deafening worst and you had to grin and bear it.
G. SWAMINATHAN
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