YOUNG GANESH RAM'S rendition of songs was enjoyable, although the pitch chosen for the concert was somewhat low for a young artiste. He displayed good expression and manodharma. Dikshithar's ``Sree Ramaa Saraswathi" in Nasamani (also known as Nasika Bhushani) was sung elegantly, the Shadsruthi Rishabha swarasthana coming out clearly. Mohanam, which was the main raga featured a short alapana, followed by Tyagaraja's ``Evaruraa Ninnuvinaa" and kalpanaswaras were done delectably. Able mridangam support was provided by Madurai B. Sundar, who played a competent tani avarthanam with interesting nadai variations in Misra chapu talam for 1/3 eduppu. Hamsanandi raga essay was replete with characteristic phrases containing the essence of the raga and Muthaiah Bhagavathar's ``Needu Mahima Pogada Naa Tharamaa" was sung with liveliness.
The fare included Dikshithar's ``Neerajakshi Kamakshi" (Hindolam), Thyagaraja's Sarasa Saama Daana" (Kaapinaraayani) and ``Ithade Yathaduga" (Sivaranjani).
Violin response from A. G. Venkatasubramanian was good and supportive. He made useful contributions in Mohanam and Hamsanandi.
Mambalam Sisters (Vijayalakshmi and Chitra) gave a delightful recital, revealing their skills acquired with arduous practice. The Poorvikalyani raga alapana was dealt with elegantly with neraval and swaraprasthara for the phrase ``Balakrishnan Paada" in Gopalakrishna Bharathi's composition ``Nadamaadum Naagar Adimalare Thunai."
Elaborate raga essay for the main item in Sankarabharanam was followed by Thyagaraja's beautiful composition ``Swara Raga Suthaa Rasayutha" with fine neraval for ``Paramaanandamane" and imaginative swaraprasthara. Their sister Dr. Hemalatha provided efficient violin support, playing some charming phrases in Sankarabharanam and Poorvikalyani. Mannargudi Srinivasan on the mridangam and K. S.
Rangachari (the duo's father) on the ganjira gave excellent percussion support and their tani avarthanam in Adi talam 2 kallai for 1/2 idam eduppu contained several charming rhythmic passages with nadai variations, culminating in an interesting muthaippu. With a pleasant, vibrant ringing voice, Dr. R. Ganesh regaled the rasikas with a choice selection of songs. Lively rendering of Dikshithar 's ``Siddhi Vinaayakam" (Shanmukhapriya ) was followed by delightful kalpanaswaras for ``Prasiddha Gananayakam" at 1/4 idam before samam. The Bilahahari alapana was scintillating and Tyagaraja's magnificent composition, ``Naa Jeevaadhaara'' rarely heard these days, was rendered doing full justice to all the winding labyrinthine sangathis in the Pallavi and Anupallavi. Kharaharapriya, the major raga was given elaborate treatment, the kirtana being the rarely heard ``Dayavillaiyaa Dayaalo" (Papanasam Sivan ), with inspiring neraval and swaraprasthara for the line ``Kannaa Kannaaa Enrun Naamame Solven."
Tani avarthanam by the mridangist Melakkaveri Balaji in Adi talam 1 kallai at sama eduppu was done competently. V. V. Srinivasa Rao gave excellent support on the violin, making useful contributions in Kharaharapriya and Bilahari.
The fare included a tillana and ``Bo Sambho Swayambo" popularised by the maestro Maharajapuram Santhanam, his mentor.
Senior artist Mythili Jagannatan gave an enjoyable recital, showing her mastery over laya, despite a little voice trouble that was overcome quickly. Her skills in elegant song rendition and competent handling of kalpanaswaras were amply revealed in ``Pakkala Nilabati" (Tyagaraja-Kharaharapriya), featuring laya-intricate swaraprasthaara for the phrase ``Thanuveche Vandana" at a tricky eduppu exactly at the middle point of the first anga of Misra Chapu Talam.
``Sadaachaleswaram" (Dikshithar-Bhoopalam), ``Naaraayanaa" (Purandara Dasa-Suddha Dhanyasi) and ``Nee thaan thunai" (Ragamalika) were some of the other items well rendered.
Srilakshmi Venkataramani provided competent violin support, making an impact in Kharaharapriya, Sriranjani and Hameerkalyani. Vijayan on the mridangam, well supported on Kanjira by S. Sankar provided efficient percussion accompaniment, playing an excellent Tani avarthanam in Misra chapu talam for a difficult eduppu at one and a half aksharams after samam,culminating in a delightful muthaippu.
S. R. GIRIDHAR
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