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Vasudha Ravi - an informed choice of krithis combines with a sweet voice
09 April, 2014

What would happen if a singer has a sweet and wholesome voice and makes an informed choice of krithis to be sung? Vasudha Ravi, the gifted singer, did precisely that and the audience (limited?) was in for a concert that was rich in its content and was delivered with aplomb. The winning point in her concerts is not only the mere loveliness of her voice but also an easy-rendering style that must have  come to her owing to the considerable experience she has had on various concert platforms. The day’s performance of Vasudha was part of a series of concerts that were held under the aegis of Saraswathi Vaggeyakara Trust that were held at the Narada Gana Sabha (mini hall) on 30th March, 2014.  

Vasudha began with NeeveGathi, a rare varnam of Syama Sastri in Kalyani, which had as its specialty a different format, distinguishing it from the other varnams. In this varnam the Vaggeyakara has included an anubhandam after the charanam (and its foursome swaras).

Gananayakam, a Dikshithar krithi in the raga Poorna Shadjam was sung next. This had swaras in abundance, all centered around the nishadham, that made it all the more attractive. NannuBrova Radha the krithi of Syama Sastri (Janaranjani) was again a rare piece and happened next. The alapana showed clarity in conceptualizing this raga. The swaras too had all possible combinations that this tricky scale could afford and these were handled perfectly. She then launched into an alapana of Narayani for the Thyagaraja krithi Rama Neevegani.  The alapana showed again the immense confidence she had in herself. All zones seemed comfortable (and reliable) to her during the entire alapana.

The main item was a Dikshitar krithi in Chamaram, Ekamresa Nayakim. The alapana here too accommodated pulsating brigas and long notes that stayed at swaras much to the delight of the rasikas. The krithi as it was rendered expressed bhava in its entire grandness. 

Anathapadmanabha on the violin stuck to his task and played with a purpose. He made full use of the opportunities afforded to him during the alapana and swara slots.

The laya vidwan on the mridangam, Sai Giridhar was in his elements during the thani and accompanied in the most compact manner when playing for the songs.

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