4 months ago
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Jayanthi Kumaresh’s veena recital turned retired to beryllium a unsocial ensemble, featuring uncommon ragas. She was supported by H.N. Smitha connected the violin, B Jayachandra Rao connected the mridangam and Pramath Kiran connected the tabla and morsing.
Jayanthi started with ‘Karunimpa’, the Sahana varnam. The 2nd point was ‘Muddu momu’ by Tyagaraja successful raga Suryakantham. In the closure, the pallavi was adorned with an awesome concatenation of swarakalpanas.
A somewhat sombre raga treatise of Surutti led to ‘Srivenkata girisam’ by Muthuswami Dikshitar.
Then came the pleasantly surprising, elaborate treatise of Sarasangi, the 27th Mela raga. Jayanthi navigated the raga done adept moves and glides, highlighting its nuances. The kriti was ‘Neekela dayaradu’ by Ramaswami Sivan acceptable successful Khanda Chapu. Jayanthi and her squad shone successful the swara segment.
Jayanthi Kumaresh with Smitha (violin); Jayachandra Rao (mridangam) and Pramath Kiran (tabla and morsing). | Photo Credit: RAGHUNATHAN SR
‘Ithi samayamura’ by Tyagaraja successful Chaya Nattai came up next. She shared with the assemblage that she is readying an RTP successful Hamsanandi acceptable to Adi tala. The bhava-soaked alapana was shared by violinist Smitha. The pallavi went similar this — ‘Vasa nivasaa srinivasa jagam pugazhu ezhumalai’.
The tanam was energetic, yet soaked successful melody.
The enjoyable tani avartanam saw Jayachandra Rao and Pramath Kiran play without high-decibel articulations.
Jayanthi signed disconnected her performance with a Narayana Tirthar creation successful raga Behag and ‘Kamakshi lokasakshi’ successful Madhyamavati.
What acceptable isolated this performance was the inclusion of violin, mridangam, tabla and morsing. Jayanthi is ever creative, and her offering of Sarasangi stood gangly and majestic.
