Vocalist Gayathri Venkatraghavan displayed her keenness to give a lively recital, as she sang in a lucid style, replete with vigour emotion and authenticity for Thyaga Brahma Gana Sabha.
I was exhilarated by her presentation of this bava-laden music and apt use of her voice and delivery with mellifluousness in all the three octaves, with an attractive package that had a ring to it from the beginning to the end.
When Gayathri set off to a breezy start with khamas Raga alapana (Brochevarevare) of Vasudevachariar, with elaborate swara passages of ‘Sarvalankara’ pattern, noted for its enduring Bhava, we acclaimed the presentation.
Her aesthetics sounded distinguished, when the vocalist rendered superb Bhairavi Raga alapana, as the rendition of (Upacharamu) of Thyagaraja was spirited, reflecting the intent of composer with melodic contours and perfect brigas.
When the artist descended on Saraswathi Ragam – Thalam – Pallavi (Vaageswari Vaani Saraswathi) in Kandajathi Tripudam, embellishing her recital, with admirable grasp of the raga contour and rhythmic contents of the Pallavi, there was approbation all round.
On the whole, a total involvement marked her rendition and the portrayal was neatly planned and executed, highlighting the emotional significance of the sahityas and her presentation in the ‘Mantra Sthai’, laid the foundation for the super structure in the ‘Tara Sthai’ and touching the apogee in the swaraprastharam.
Violinist M R Gopinath provided skillful support, with exercises in Khamas and Bhairavi replete with engaging details. Vivacious Poongulam Subramanian on the mridangam embellished the recital with his stamp of authority and the thrust expected of him drawing the frame work of the rhythm, in the company of Venkatraman (kanjira).