Pantula Rama’s performance was marked by both scholarship and vibrancy

Pantula Rama’s performance astatine The Music Academy was effervescent, yet emphasised her scholarly attack to singing.

As always, she gave her champion some during the pallavi league and the elaborate Dikshitar kriti presumption successful keeping with the year’s taxable astatine The Academy — Muthuswamy Dikshitar 250 — to commemorate the composer’s commencement anniversary.

The vocalist’s archetypal Kalyanavasantham raga alapana acceptable the code for the concert. A much-appreciated ‘Nada loludai’ (Tyagaraja) featured dilatory and accelerated kalpanaswaras.

‘Sri ramya chittalankara’ (Jayamanohari raga, Tyagaraja) came next. Wishing to motorboat the Ragam-Tanam-Pallavi early, the vocalist acceptable up a powerfully rooted-in-tradition Kedaragowla alapana. She past enhanced the raga’s intricacies with an elaborate tanam earlier the pallavi, ‘Neelamegadhama venuganalola’ acceptable to Misra chapu tala — the tala was acceptable successful reflector image. The vocalist took the pallavi into the Trikalam rendering followed by kalpanaswaras.

The portion de absorption of the evening was Muthuswamy Dikshitar’s ‘Meenakshi maine mudham dehi’ (Gamakakriya besides known arsenic Poorvikalyani) filled with the intrinsic raga bhava embellishments; it drew assemblage appreciation. They kept astatine it erstwhile Pantula Rama established a niraval-swaram suite successful this kriti astatine the words, ‘Veena gana dasha Gamakakriye’ with flourish.

In the tani avartanam that followed, V.V Ramanamurthy connected the mridangam and Nerkunam S.Sankar connected the kanjira proved their prowess.

Pantula Rama concluded with a javali ‘Cheli nenetlu’ (Paras) and a Khamas tillana composed by Patnam Subramania Iyer.