Hyderabad-based young vocalist G. Srividya has a pliable voice, fair timber and good range that make her performance a pleasant experience to audience. She has an enthusiastic and robust approach to raga essays and prefers a shipshape presentation. She seems well aware of the structure of the piece taken up and at no point attempted to stretch it in any way. It, in a way, makes her presentation taut and to the point letting her manodharma remain afloat in every frame of performance. Her recent concert under the aegis of Visakha Music Academy at Kalabharati Visakhapatnam bore this out in good measure.
She began the concert with a Muthiah Bhavatar varnam Maathe Malayadwaje in raga Khamas that accounted for a good start and she followed it up with raga Nata for Pahimam Sree of Shyama Sastry. Fluent neraval at the line Saarasapadayugale coupled with brilliant swara suite served as a precursor to the treat ahead.
She chose raga Begada for Naadopasana of Thyagaraja as her main raga essay on an extensive scale.
Living up to expectations, she thrived in offering the raga bhava. The kriti performance in the cycle of Aditalam held fast to tradition. In this composition she picked up the line ‘ tanthree laya swara gaana viloluru ’ for neravu, giving adequate time to relish its raga charms and the swarakalpana that followed was reflective of her grasp of the matrix of notes. The lyrical import that the trinity of deities embodies the quintessential nature of cosmic nadam stood well expressed. Subhapantuvarali was another raga that found elaborate exposition for the composition ‘ Nee samana ’ of GNB. Tagged with adroit swarakalpana, it was a cute presentation strictly confining to tradition. She rendered a short RTP for raga Bhairavi with pallavi ‘ Maa madhurai meenakshi amba devi ’ set to the cycle of in Khandajathi Rupakatala. Though it was succinct in duration, it remained succulent all through. Bhogindrasayinam of Swathi Tirunal in raga Kuntalavarali and Nee ninainthaal in Darbari Kanada were other notables in her performance.
B.V. Durga Bhavani’s contribution on violin was admirable while N.S Kalyanraman on mridangam and G Venkatesh on morsing lent competent support.
