Aishwarya Vidya Raghunath proves herself worthy of the senior slot at The Music Academy

Aishwarya Vidya Raghunath with Ganesh Prasad (violin), B.C. Manjunath (mridangam), and Bagyalakshmi (morsing)
| Picture Credit score: Okay. Pichumani

Aishwarya Vidya Raghunath’s music that has seen fast strides in current occasions, attained one other milestone with the senior slot at The Music Academy. She demonstrated that she is absolutely ready to play for the upper stakes. There was good articulation of raga swaroopas, confidence in execution and an infectious enthusiasm and vitality that engulfed the stage.

‘Intha chalamu’ (Begada varnam) was a quiet begin. Unexpectedly, Aishwarya picked up the dynamic kriti, ‘Sankari samkuru’ by Syama Sastri in Adi Tisra nadai. The oscillations within the kriti go well with her fashion of busy vocal output. This was adopted by peppy swaras. She additionally sang just a few charanams not usually heard. The vocalist, an engineer by coaching, had already electrified the temper.

A brightly rendered Mukhari raga alapana that encompassed many rakti phrases, was adopted by the epochal ‘Ksheenamai tiruga’ (Tyagaraja, Adi). The kriti provided sangathis in larger notes in addition to briga-laden phrases that Aishwarya produced with ease, deploying the complete grandeur of the kriti. Many a time, the key of the rendition lies in selecting a great kalapramana. Aishwarya’s musical sense ensured a brisker tempo that the kriti wants. Niraval at ‘Ethijesina’ had some serene moments on the decrease registers, adopted by crisp swaras.

Aishwarya lent an aesthetic contact to the Harikamboji alapana
| Picture Credit score:
Okay. Pichumani

‘Sree Guruguha’ (Purvi, Dikshitar) is a attribute slow-paced uncommon kriti by the composer that supplied novelty infusion though its capacity to boost the live performance was uncertain. Aishwarya started the raga alapana of Harikamboji with a transparent and fast define of its distinctive identification and went on to sketch all of the ascends and descends. Her quick-footed free stream laced the alapana aesthetically. 

Ganesh Prasad’s alapanas of Mukhari and Harikamboji had been of a top quality, relying totally on quick impactful phrases. The pallavi, ‘Harikesa jaaye’ in Chatusra Dhruva tala, Khanda nadai, set by Aishwarya’s guru, R.Okay. Shriramkumar, had good enunciation of the tala construction and a few complexity. It helped Aishwarya showcase her laya within the niraval and tri kalam. 

The ability of a percussionist in taking part in well-aligned sollus for a posh pallavi is greater than a packaged tani. B.C. Manjunath demonstrated his proficiency within the pallavi. Bagyalakshmi on the morsing supported effectively.

A cascade of rakti ragas flowed within the swara half — Yadukula Kamboji, Sahana and Surutti. A pleasing rendition of ‘Ninnujoota’, a padam in Punnagavarali, gave a glimpse of Aishwarya’s ability in genuine rendition of karvai and pause-filled compositions. A Nattakurinji finale marked the conclusion of a great live performance.

Ganesh Prasad is a mature violinist and performs in line with circumstances with out intrusion. That provides a major tail wind to the vocalist. At occasions, Aishwarya traded readability for pace, a side she could should be conscious of. One additionally feels that concert events of this nature ought to characteristic just a few extra items to supply broader selection. We are actually all the way down to a three-or four-piece live performance in two-and-a-half hours.