The performance of vocalist Shobana for Rama Bhaktha Jana Sabha was an indicator of the artiste’s knowledge of the nuances of carnatic music.
And the singer revealed substantive vidwat, mellowed with performing finish.
Beginning with the varnam in Abogi in Adi-tala of Pattanam Subramaniam Iyer, she slid into raga Natti. The composition of Duraisamy Ayah (Sarasiruha) and the kalpana swaras at Saraswathi, revealed her involvement in totality.
The rich and resonant voice, which consistently lends attraction to her performance, scored in her presentation of raga Shunmuga Priya. Her intonated expressions in Marivera of Pattinam Subramaniya Iyer, reinforced my view, that in the field of classical performing arts, the guru has a prominent role in shaping the intuition and approach of the disciple, to effectively blossom, into a mature performer.
When she took up the pallavi in Adi (Khanda Nadai) and rendered Bhava Tharana Venkata Ramana, the role of her guru and the pallavi maestro TR Subramaniam became evident.
On the whole, this concert was the perfect mix of talent on her part revealing the trajectory of the voice modulation, and familiarity on the part of the listeners.
Raj Sri on the Violin lent lucid support and her delineation of Shanmuga Priya formed a faithful extension of the vocalist emotive account of it.
Both Siva Kumar (Mridangam) and Raj Ganesh (Kanjira) presented a spirited Thani in the phase of Shunmuga Priya confirming elegantly to the norms of Avarthana Suddham.