The nuances of nishadam in Surutti make it a rather tricky note to navigate. Senior vocalist S.Sowmya’s Surutti alapana interwove choice phrases of almost every kriti in the raga, as she explored the rishabam to nishadam portion in the madhya sthayi before focussing her creativity around the upper nishadam. If one closely observed Sowmya’s Natabhairavi alapana, certain phrases from ‘Sri …
Sudha Ragunathan’s concert for the Music Academy relied on her famed presentation mantra and delivery style. ‘Enraikku siva kripai varumo’ in misra chapu and a dominant upper octave structure served as the booster to recoup her voice fluency. Mysore Sadasiva Rao’s ‘Saketha nagaranatha’ in rupakam is a unique kriti with a vibrant madhyama kala course and even a durita sprint …
MadRasana set Bharat Sundar’s virtual concert in the sylvan ambience of Auroville, with Vittal Rangan on the violin, Praveen Sparsh on the mridangam, Chandrasekara Sharma on the ghatam, and Mani on the tambura. Bharat Sundar rendered ‘Rajagopalam bhajeham’ with an extensive and interesting swarakalpana on the line ‘Parijatha taru moolam’. The pallavi set to khanda eka talam went as ‘Pallum …
