Spoorthi Rao impresses with her voice, but needs to adopt a balanced approach
The HinduSpoorthi Rao easily won the hearts of the audience with her rich and melodious voice that covered all the octaves up to the tara panchmam. The lower Madhya sthayi sancharas, which form the core of a raga alapana for Ranjani, were wound up within a couple of minutes and the foray to the Tara Shadjam made way for briga sangatis and sancharas. Ranjani was followed by a brisk Tyagaraja composition ‘Vararagalaya’ in raga Chenchukamboji set to Adi tala. The raga alapana, which began with some shades of Kurinji, was dealt with in detail in all the three sthayis, with an unusual sangati sancharas in the Tara sthayi. However, attention to achieving a moment of peace between phrases in a raga alapana, a clear understanding of how much in volume is good for a niraval and the sense of proportion of the niraval to kalpanaswara ratio would add more value to her concert.
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