Endowned with a mellifluous voice, Bharathi Ramasubban acquitted herself creditably in her maiden concert in Palakkad. Singing with gusto, she impressed the listeners with her pleasing renditions.
Her somewhat hurried approach was perhaps the only negative aspect of the recital.
Commencing with the varnam Saminipai in Kedaragowla, she rendered Umadasar’s Intaparaga in Mayamalavagowla and Entuku Nirdaya of Tyagaraja in Harikamboji in quick succession. The neraval and swaraprastharas in both the kritis were laudable. The Varali raga alapana was no doubt elegant, but the vocalist could have developed it in greater detail, for which ample scope was available.
But, she did justice to the Shyama Sastri kriti Karunajudavamma, appending it with pleasing swara patterns. Immediately choosing another chowka kala kriti Gangeya Vasana in Hamirkalyani, composed by Swathi Thirunal, did not appear to be judicious.
The fast-paced Triloka Maata, which followed, was a welcome choice.
The main raga Bhairavi, adorned with exquisite sangathis, was elaborated stage by stage, which depicted the full raga bhava. Taking up Muthuswami Dikshitar’s Bala Gopala, she presented an energetic niraval and imaginative kalpana swaras.
Bilahari, the raga chosen for RTP, was not fully explored, though the delineation did bring out the traits of the raga. Moreover, the thaanam was too brief.
The pallavi, Aho Bilaharim Naraharim Asraye Malokam Murarim in Kandajathi triputa taalam was not presented in the traditional trikala. Ragamalika swaras in Vasantha, Kapi and Behag showcased the vocalist’s manodharma.
The concluding session, comprising Rama Hare Govinda Hare in the unfamiliar raga Bat Deep, Swathi Tirunal’s famous Dwijawanthi padham Taruni njan, and Vandhu Vandhu, a Thiruppugazh in Sindubhairavi, was a fine essay in soulful aesthetics.
Following the vocalist like a shadow was violinist S.P. Ananthapadmanabha. His creative skills came to the fore in his splendid accompaniment. Nanjil Arul on the mridangam provided momentum to the concert.
His tani in Adi tala was crisp and robust, though a bit aggressive at times.
Chandrasekhara Sharma showed his craftsmanship in playing the ghatam.
The concert was organised under the auspices of Palghat Fine Arts Society.