Gayathri Venkataraghavan’s concert for Lalitha Kala Vedika was based on the compositions of 15th century composer Annamacharya, an ardent devotee of the Lord of Seven Hills. His compositions, made popular by musicians, have pallavi with several charanams without anupallavi.
Gayathri chose to open her recital with the popular and majestic ‘Namo Namo Raghukula Nayaka’ in Nattai and ‘Vande Vasudevam’ in Sri Valaji’s charming profile was neatly developed with sonorous karvais judiciously anchored at the right places. ‘Annivibavamula,’ a lesser-known kriti was the vocalist’s selection. It benefited from the smooth addition of swara strings.
Gayathri’s two main offerings were Kalyani and Sankarabharanam. While the singer underlined the finer features of the former, the treatment of Sankarabharanam was just adequate. ‘Sarvopayamulu Jagati Nakitade’ (Kalyani) carried an intricate and intelligently framed chittaiswaram. She focused the kalpanaswaras on the phrase ‘Sakala Ganga Theertha.’ The next one was a new piece in Ritigowla. ‘Alarulu Kuriyaga Aadenade’ is, indeed, a known one in Sankarabharanam. ‘Entha Matramu’ and ‘Kaladinathe Mata’ in Kanada came towards the end.
It is refreshing when vocalists present kritis which are rare . It would be more appealing if they enlighten the audience with the specialities of such kritis.
Modesty and sincerity are the hallmarks of Gayathri Venkataraghavan’s singing, traits she has preserved well.
Mysore Srikanth is a talented and committed performer. His participation in the proceedings was musically quite appealing especially in swara segments. Neyveli Skandasubramaniam on the mridangam kept a close watch on the rhythm and participated in the thani without indulging in boisterous play.
