With a mallari taking cue from ragam-tanam, S. Srivathsan’s 35-minute suite after a neat centrepiece emerged as the highlight of his performance. The last two were a reminder of the first and last of the five ghana ragas sequenced in Tyagaraja’s famed Pancharatna kritis. ‘Sukhi evvaro’ opened placidly, but gained frills on entering the anupallavi portion, where the percussionists complemented …
