Bombay Jayashree performing a special Tyagaraja Aradhana concert at the Sangeet Academy | Photo Credit: M. Karunakaran
A nearly packed house at a music festival during the ‘off-season’ is a clear indication of the high level of excitement and anticipation for the event. This was Bombay Jayashree’s Tyagaraja Aradhana special concert at Sangeet Academy – after an extended gap of a few years.
The concert was distinctive with two Utsav Sampradaya Kirtans (one to start and the other to end), and two widely presented ragas and compositions with each other to be the centerpiece, moments of brilliance as well as serenity. Was competing with
Shanmukhapriya’s leisurely build from the mandara sthayi through the middle octave to the upper octave demonstrated Jayashree’s technical proficiency. The series of accompaniments in the depiction of the composition ‘Vaddane Varu’, followed by a cascade of voices in Madhyam Kala and Mel Kalas, was fascinating.
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Bombay Jayshree | Photo Credit: M. Karunakaran
Bilhari Raag Alapana took some time to set up, but later it picked up a lively tempo. A remarkable clarity in the long and sustained akars sliding on the climb to the top octave and on the return brought out the finer nuances of the raga.
From the work of Jayashree’s mentor, violinist Lalgudi Jayaraman, ‘Na Jeevadhara’ would have been a natural choice. Jayasree imparts resplendent chittaswaras to it and chooses to pair it with richly imagined vocals as well. Niraval was conspicuous by his absence for the main number, probably due to the short duration of the concert.
Jayasree opened the concert at Yadukulakamboji with ‘Hecharika Ga Ra Ra’, setting the tone for an evening of musical magnificence. For the Mayamalavagoula raga composition ‘Meru Samana’, Jayashree begins with the soulful ballad ‘Raghuveera Jutamu’ and explores it slowly with niraval and intricate kalpanaswaras in ‘Galamuna Sobillu Kanaka Bushanamula’.
The silence of percussionist Sumesh Narayanan on the mridangam and S Krishna on the ghatam during the composer’s pose lines was suggestive. Jayashree’s rendition of ‘Sogasu Juda Tarama’ (Kannadagoula, Roopakam) was imbued with the spirit of expression and the meaning of the piece.
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Violinist HN Bhaskar added layers of complexity and depth to Jayashree’s music with his precise and melodic playing.
She excelled in Bilhari Alapana as well as Swarakalpana section.
Both Sumesh and Krishna were in sync with the singer during the entire concert and during their solo time in Thani Avtaram, they showcased their skills with strong and energetic playing. The audience was attentive and appreciative, applauding at appropriate moments.
To conclude their concert, Jayashree sang the ceremonial ‘Pathiki Harathi’ in Suratti, expressing her sense of gratitude. The hall was packed till the end of the concert, which is an indication of how much the audience enjoyed Jayashree’s music that day.