Teacher and vocalist Bhuvaneswari’s concert at Kotta Anjaneyaswami Temple, Palakkad, proved that Nadopasana is perhaps the best method of worship.
Opening the concert with ‘Ninnukori’, an Adi tala varna in Vasantha composed by Sinkaracharlu, she sang it in two speeds and adorned it with an excellent Kalapramana. A salutation to Lord Ganesha, ‘Pranamamyaham Sree Goureesutham’ of Mysore Vasudevacharya, was suffixed with spirited swaraprasthara.
‘Sundari nee sada’, a composition of Gnanananda Teertha in Sudhadhanyasi, was followed by an alapana of Malayamarutham.
Bhuvaneswari prudentially selected ‘Hanumane Swamikkintha Atayalam’ from the famous opera ‘Ramanatakam’ of Arunachalakavirayar, which is a dialogue between Sita and Hanuman. Tyagaraja’s fast kriti ‘Koluvayunnade’ in Devagandhari was appended with swarasanchara, providing rhythmic variation. Classical and mellifluous portrayal of Shanmukhapriya was followed by ‘Marivere dikkevarayya Rama’, a majestic composition of Patnam Subramanya Iyer, ornate with eloquent niraval and swarakalpana at ‘Sannuthanga Sree...’.
Saraswathi Moorthy on the violin and Palakkad A. Ganesan on the mridangam provided adequate support. Bhuvaneswari concluded her recital with Thulasidas’ ‘Sitapathy, Raghupathy’ in Bagesree, a thillana in Kamas and Tyagaraja’s Mangalam.
