Sangeetha Ksheerasagaram organised a vocal concert by Padmavati Saranathan, popularly known as ‘Calcutta Padma’ last week at Saptaparni. She was accompanied by B.S. Narayanan on violin, Karra Srinivas on mridangam and Bachu Janardan on ghatam. Padmavati is a chartered accountant by profession and works Houston, US.
Steeped in tradition Padmavathi’s concert was well structured with a mix of popular and rare compositions, some set to lesser heard ragas. Her creativity was found in the rendition of ragas, nereval and swarakalpana. Manodharma aspect of her rendition was unique and found especially in the RTP section.
She opened her concert with Lalgudi’s varnam Intha Tamasamela in Kannada. This was set in madhyama kalam and followed it with Sri Purandara Dasa Vandisu ’ in Naata, in Khanda Chapu talam. This was preceded by ragalapana. ‘Tiruppavai’ of Sri Andaal that followed was timely rendition that day being the third day of Marghazi. She then chose to present Seshachala Nayakam of Dikshitar in Varali, treating it as her sub-main number. This was presented with detailed ragalapana and the kirtana rendition was unique in sahitya expression steeped in devotion. She presented Nereval too taking the line Aravindapatra Nayanam . The kalpanaswaras that followed were rich in appeal carrying the devotional mood of the sahitya. She then rendered Syama Sastry’s Parakela Nanu Paripalimpa in Kedaragowla, a madhyamakala kriti with inbuilt chittaswaras that she rendered with leisurely grace.
Padmavati came out with a serene number of Thyagaraja Nadopasana in Begada. This was opened with elaborate ragalapana and the kriti was presented with neraval at the charanam Tanthree Laya swara gana viloluru , a treat to the listeners. The tani avartanam presented at this stage by percussionists with gati changes was a treat. Later she sang Papanasam Sivan’s Ramapaadambhoruham in Kuntalavarali.
The highlight of the concert was Ragam-Tanam-Pallavi in Amruthavarshini.
The later part of the concert was filled with a few impressive light classical numbers that included a Meera bhajan in Sudha Saranga, her own tillana in Raga Sarangi tagged with highly poetic sahityam. She ended her concert with Tiruppugal in ragamalika.
