Self-involvement and a sense of total commitment are the prerequisites for being a classical musician. Mahanadhi Dr Shobana vignesh, who developed under maestro PS Narayanaswamy, gave a totally involved recital at Kapali Fine Arts. The vocalist, after opening her recital with Kanada Ata Tala Varnam of Ramnad Srinivasa Iyengar, in two speeds (kalam), embarked on raga ‘Mayamalava Gowla (Sri Nathadi Guruguho) of Dikshitar with a spell of attractive ‘melakaalam kalpana swaras’ for the pallavi (Sri Nathadi Guruguho) .
Up next was the kriti of Neelakanta Sivan (Shambho Mahadeva) in Raga Bauli, revealing the devotional streaks in her. An attractive raga Dharmavathi was explored next with bhajanaseyaradha of Mysore Vasudeva Char.
It was a measured rendition indicating the promise possessed by the artiste.
While she brought out the essence of the kriti (Sri Krishnam Bhaja) of Dikshitar in raga Todi, set to two kalai and with a detailed alapana, niraval and kalpana swaras, for the charanam Shamka Chakra, it revealed the singer’s sensitive predilection to communicate the raga Swaroopa, strictly within the moorings of classicism and never wanting to dabble with superficial glitz.
Earlier, her handling of a kriti of Patnam Subramaniya Iyer (Ithigyayama) with Chittaswaram and (sanatana) of Thyagaraja in the Raga Phalamanjari were delectable.
The concert revealed that she has enlarged her repertoire now, particularly (Chinnanjiru Kuhazandhai) on lord Murugan in Raga Jog ( set to (eka-tisra-nadai) and an abhang (abhira gulala) in raga Bhup and Bhimplas, composed by Sanit Chokhamekla, were melodiously rendered.
When she concluded with a tillana in Raga Chandrajyothi, the final impression she left on listeners was of an artiste with pleasing voice and not seeking out-of-the-way methods in a frantic bid for uniqueness, indicating that she has got a bright future.
Rajiv on the violin, with good tonal quality made listening a pleasure.
Arjun Ganesh on mirdangam, gave a fairly good rhythmic support in the company of Rajaram- ghatam.