Gayathri Venkataraghavan performing at the Margazhi festival of RR Sabha in Mylapore on December 15, 2023.
| Photo Credit: SRINATH M
Gayathri Venkataraghavan’s recent concert at RR Sabha was a celebration of her aesthetic sensibilites and technical prowess. She delved deep into two ragas, unfolding a world of vivid hues.
Gayathri chose Muthuswami Dikshitar’s ‘Ekamranatham bhajeham’ to elaborate Gamakakriya (Purvi Kalyani) and her rendition showcased a remarkable balance, allowing the upper panchama to shine without a hint of shrillness. The niraval, centred around the charanam lines ‘Panchakshara mantra rupam,’ was impressive with occasional forays into the upper octave notes. The kalpanaswaras, embellished with characteristic curves in the swara sequence, elevated the raga’s appeal. Though this kriti was sung third in the line up, Gayathri created space for the tani avartanam, after a spell of vibrant korvai in her kalpanaswara segment.
The RTP in Gowri Manohari was the highpoint of her performance, starting from the tara sthayi and elegantly descending to the middle octave, meticulously constructing a musical edifice.
Gayathri’s rendition of the pallavi, ‘Parameswari krupakari sankari gowrimanohari maam pahi,’ set in Khanda Triputa tala, displayed her understanding of the rhythm. She explored diverse nadais and speeds in trikalam. The kalpanaswaras in Valaji and Behag seamlessly intertwined, bringing to the fore her creative flair. In the RTP, her presentation of tanam with beautiful brighas in phrases deserves special mention.
Gayathri Venkataraghavan accompanied by Mysore V. Srikanth (violin), B. Ganapathiraman (mridangam) and Alathur Rajaganesh (kanjira).
| Photo Credit:
SRINATH M
Violinist Mysore V Srikanth made his presence impactful, especially in the Gowrimanohari raga alapana and in the ragamalika swara section.
The evening opened with the rendition of Papanasam Sivan’s ‘Karunanidhiye thaye’ in Bouli, an emotional invocation hailing Karpagambal, the presiding goddess of Mylapore. The kalpanaswaras at the pallavi line, especially in the lower octaves, exuded a deep sense of reverence. Transitioning to Tyagaraja’s ‘Teliyaleru Rama’ in Dhenuka, she appended the kriti with madhyama kala swarakalpana in a luminous clarity, uplifting the ambience.
During the Gamakakriya composition, the percussionists B. Ganapathiraman (mridangam) and Alathur Rajaganesh (kanjira) showed their understanding of the lyrics and mood of the composition with silence at the line beginning with ‘Omkara rupam’ and their tani witnessed an enjoyable exchange of rhythmic syllables.
Following the tani, came a lively set of songs – ‘Kandavarkku kanavilum’ of Swarna Venkatesa Deekshitar in Kuntalavarali, ‘Bhajare yadunatham’ in Pilu by Sadasiva Brahmendral and the enchanting ‘Senduril ninradum’ in Maand, prefaced by verses from Thirumurugatruppadai.
Gayathri’s performance combined three ‘C’s – confidence, clarity, and commitment – and was a lovely showcase of both tradition and creativity.