The performance of vocalists Ranjani and Gayathri, gave us a glimpse of their potential when they performed for the Thyaga Brahma Gana Sabha. Through their performance, they were able to prove that the observance of ‘tradition’ in the concert is nothing but a re-imposition and elaboration of the basic ideas, embodied in them. They explored Raga Pantuvarli, which was delivered with quality consciousness. Their rendition of (Enna Ganu Rama Bhajana) in Rupaka Thalam of Bhadrachala Ramadass with glowing aesthetic sancharas at (Rama – Rama) gave an impression of their intensity.Their creative skill was displayed in the Raga Alapana of Suruti, delivering (Sri Venkata Girisam) of Dikshitar with spontaneity in niraval at Alamelu Manga, a refined presentation indeed, though audio effects were subdued, muffling an exhilarating hearing. Their earlier presentation of Muhari Raga, reminded me of the legend vocalist of yesteryears, Musiri Subramania Iyer, whose rendition Panthathi of this Raga was universally acclaimed. (Paru-Paru-Seyuvaru) a rarely handled keerthana of Thyagaraja, was rendered, where he beseeches Rama for ‘longevity’ and for annihilation of ‘Kama – Kroda’, ingrained in the minds of the people. They chose to deliver Raga Simhavahini (janyam of Sarasangi) with devotion and the Kriti (Nenarunchara) of Thyagaraja, where he prays to Rama for his absolute grace, was delivered with serenity. The masterpiece of the evening was the rendition of Raga Varamu (Janyam of Natakapriya). They took up Ragam - Thanam - Pallavai in Chathusrajathi Tripuda Thalam and explored beautifully, the Ragas that followed in Pallavi – Bilahari, Ranjani, Malayamarutham and Kaanada.The concert certainly rose in tides of a keenly nuanced tradition, bequeathed by maestro PS Narayanaswamy. The niraval executed had a mellow effect and the swaras accentuated a steady flow.MR Gopinath (violin) as usual showed his ingenuity and Manoj Siva (Mridangam) backed him well with subdued rhythm in the company of Ravi Balasubramaniam (Ghatam).
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