Vocal concert with verve

HYDERABAD: For Mrudula Ramachandran this was her first concert she gave for Kartikeya Gana Sabha after she added to her profile ‘Sangeetha Sri’ ‘Sangeetha Sri’ a title awarded by Trichy’s Rasika Ranjana Sabha for the year 2015 during their centenary celebrations held recently. She was the first to receive the award from Hyderabad region. Her concert was held at Sri Saraswathi Temple’s spacious auditorium, in Musheerabad. She was in the company of N.C. Ananthakrishna on violin and Vidyasagar on mridangam. Mrudula presently is under the tutelage of Kolleigal Subramanyam.

Mrudula opened her concert with Begada varnam Intha chalamu in Adi talam of Veena Kuppaier. The way she presented the number in chaturasram and trisram (in poorvangam) in three speeds in itself was a laudable exercise that set tone and spirit for the rest of concert. Besides, she is blessed with melodious voice and ability to render with good expression.

This was followed by a slokam on Vinayaka that precedes the composition Sri Mahaganapathe in Abhogi, Khandachapu talam of NS Ramachandran.

The swarakalpana taking the pallavi line was a neat and energetic presentation.

Mrudula then chose a rare composition Senapathe Palayamam in rarer raga Kasiramakriya of Muthuswami Dikshitar in Adi talam. This was her sub-main number. She essayed the raga giving its full picture with sensible moves.

Kirtana rendition was filled with its sahitya bhava. Besides, she extended the sahitya into neraval too taking the charanam line Valli Devasenaanandakara with right stress of the sahitya line in the early part. Though short, it was elegant and could establish the essence of the raga.

The swarakalpana in drutha tempo was a masterly display of her command over the raga. The swara sancharas were aggressive mixed with calculations and ended with breezy spells with right tempo.

Neepaadamule of Ramnad Srinivasa Iyengar in Navarasakannada, Adi talam was the next number by Mrudula, which rendered next proved stepping stone for the main composition Karmame Balavantamaye of Thyagaraja in Saveri, Misrachapu talam, a rare composition.

The raga alapana was traditional packed with required gamakas. Mrudula’s hard work in the preparation for her concert was evident in essaying the raga and subsequently the neravu at Neelayatakshi Sakala Loka Sakshi , both oozing with melody. The expression and diction was flawless. The swarakalpana was also a feast to ears done in madhyamakala and drutha kala, justifying her prime position in concert level.

Another major show piece of Mrudula was Ragam-Tanam- Pallavi in Keeravani Misrajathi Jhampe Thalam. It was brilliant rendition in all the three segments of RTP. It was well built and carefully crafted raga essay. Tanam too was commendable presentation. The sahityam of pallavi line she chose later was Veenapani Madhuravani Keeravani Mathesalahau she presented in Trikalam and trisram. She concluded this unique exercise with swarakalpana presented in raga chain comprising of Kalyani, Vagadheeshwari, Dharmavathi, Sriranjani and Saraswathi that received good applause.

Vidyasagar tani avartanam was gratifying. NC Ananthakrishna did a good job.

The final numbers Mrudula presented were Muddugare Yasoda in Kuranji of Annamacharya and tillana in Vasantha of Kannuswami Nattuvanar.