Sudha Raghunathan showcases all her style and stage experience to make up for the lack of an early voice
Sudha Raghunathan’s concert performance for the Sangeet Akademi depended on her famous presentation mantra and delivery style. She is known at times for her liveliness of voice, but Sudha endures all her stage experience for a satisfying concert.
What could be better than a varnam for a high octane beginner in Kadhakuthuhalam? GNB’s composition ‘Kuvalyakshi’ opened the presentation in a positive mood. After the ‘Mangala Vinayakane’ (Rampriya, Periyasamy Thuran, Mishra Chapu) a miniature viruttam was embellished with melody notes on the outline of the chapu. The concert gained momentum as ‘Mansuloni’ was presented in Varamu. The vocals in ‘Mansuloni’ were catchy with improvisations in ‘ni’ and ‘ga’. The familiar Brisk Course was founded with Petrie’s active metronomic collaboration.
The vocal alpana brought in a different expression. It was more mellow than Briga with a higher ratio of Bhava, as might be expected from Sudha. ‘Enraikku Siva Kripai Varumo’ (Neelkanth Sivan) in Mishra Chapu and a prominent upper octave structure acted as boosters to replenish her voice flow. Sudha sang a more intense accompaniment to harmonize with Kriti’s emotional theme.
focus on melody
The choice of Harikamboji for the main part was as surprising as the work that followed. Raag Alapana was composed with nice specific phrases. Amber Kannan kept it short and sweet, with the main focus being the melody. Mysore Sadashiv Rao’s ‘Saketha Nagarnath’ in Rupakam is a unique masterpiece with a vibrant medium art curriculum and a Durita sprint at the end. Its Chittaswar structure is also beautiful – it seems as if the composer put all his imagination into one award-worthy piece. Sudha gives it a slightly slower treatment, with compensatory action provided by Patri’s matching strokes.
Niraval was charming in ‘Rajita Amar Pal’ and by this time Sudha was singing fluently in the upper octaves. The rhythm-adorned aesthetic vocals bring out Sudha’s trademark finishing touches. Patri Satish Kumar moved from a simple Thani beat to a complex beat, melding nicely with Raman on Morsing.
Viruttam, a sangeet in melancholic ragas such as Hamirkalyani and Kalyanavasantham, led to the work in a later raga, ‘Innudaya Bharaade’ (Purandaradas, Ata Taal) from MLV stable. No one has heard the Ragamalika version of ‘Asai Mukham Marandhu Poche’, and it left a warm feeling at the end of a concert, which was thoroughly revamped to reduce the tension of the opening voice.
Sudha understands the importance of a good result and carefully navigates the schedule and style to suit the cards she had to play with. Amber Kannan’s role in delivering a soothing effect on every level earned her special acclaim, regardless of her prime. Patri was in familiar territory and her rapport with Sudha’s style was evident in her particular enthusiasm.
The critic specializes in Carnatic music.
,