Sudha Ragunathan presented some excellent musical ideas

Sudha Ragunathan performs for Kartik Fine Arts at Narada Gana Sabha in December Season – 2024. Photo courtesy: R. ragu

Sudha Ragunathan utilizes her experience and meticulous repertoire during most of her concerts for Karthik Fine Arts at Narada Gana Sabha. A savvy team of accompanists – Amber S. on violin. Kannan, Patri Satish Kumar on Mridangam, and S. on Ghatam. Krishna – collaborated sincerely to ensure that the rendition provided adequate takeaways for his fans.

Sudha’s career has been an inspiring one that has warmed the hearts of aficionados. Although, now, his voice has lost some of the sparkle and flexibility, curbing his tendency to make spontaneous attempts at novelty, in this concert, he extracted some sublime musical ideas out of his comfortable range, be it raga. Be it Niraval, or vocal presentation.

His song selection was in line with the requirement, as he crossed the Madhyam Sthiri (middle octave) to a great extent. After opening with the behaga varnam ‘Vanajaksha’, Sudha presented ‘Paalum Thalithenam’, a short virutham written by Avvaiyar, before a charming Karaharpriya kriti ‘Ganapathiye Karunanidhiye’ by Papanasam Sivan. The wide exchange of voices at Pallavi’s inauguration ceremony was captivating, especially in the final round, with the team performing with great enthusiasm.

Amber Kannan, Patri Satish Kumar and S. Sudha Ragunathan with Krishna | Photo courtesy: R. ragu

Dikshitar’s rarely heard composition ‘Mahishasura Mardini’ based on Khanda Chapu in Gaula was taken up next, and in the Madhyam kalam another energetic swara sequence in ‘Ihpara Bhog Moksha Pradayini’ carried the pace. After this, ‘Sri Thulasamma’ composed by Tyagaraja in Devgandhari gave a touch of contrast while bringing peace.

Sudha was measured in her shuddha Dhanyasi alapana, which used mostly short phrases while avoiding actions. She also reined in her voice in the higher registers. Grahabedham leading to Mohanam piqued the interest of the audience. Kannan stuck to a measured approach in his response with Dhanush. Sudha found her unique style in the song section, and what happened next became the aesthetic pinnacle of the performance. ‘Jaya Jaya Guha’ was expertly rendered by Papanasam Sivan, especially when she went on a consistency spree in the charanam line ‘Kurai Theerthida’. A serene Niraval in ‘Dayai Puriya Va’ in Anupallavi clearly captured the essence of the phrasing, while the Kalpanaswara section was a delight with the accompanists showing remarkable dexterity and sensitivity.

After a rousing rendition of ‘Mangala Varadayaki’, a GNB composition in Kathanakuthulam with lively Chittaswaram, it was time for the main number. Tyagaraja’s ‘Ramanannu Brovara’ in Harikambhoji and Roopkam was selected. The raga essay was brief, with the singer introducing some of her trademark brigas, and Kannan coming up with a concise and refined version of his own. ‘Meppulakai Kannatavu-Nappu’ contained some interesting patterns in Niraval and Kalpanaswaras. Satish Kumar and Krishna’s Taani Avtaranam was a dynamic interplay of rhythms, marked by crispness.

A sloka in Ahirbharva and Purandaradasa’s Devranama ‘Rahitangiro’, and Ramalinga Adigal’s ‘Petra Thai Thanai’, a Virutham in Hamasanandhi and Sindhubhairavi, followed by GS Mani’s ‘Chidambaranai’ in the latter raga were presented. Lalgudi Jayaraman Tillana in Khamas, which includes a spectacular series of swaraksharams in ‘Ma’, ended the recital.