That was a spirited and individualistic concert right from the word go. From the wistful introspection of Saint Tygaraja to the dazzling complexities of Patnam Subramania Iyer’s tillana, Brinda Manickavasagam could hold audience’s attention.
The highlight of the evening concert was a contemplative Manirangu. The artiste offered a remarkable sketch of the raga. It was much more than an intellectual exercise. The veena exponent S. Balachander once told me that the litmus test of the vidwat of a musician is the ability to present a pristine Manirangu. Brinda passed the test in flying colours.
Swati Tirunal’s ‘Jaya Jaya Padmanabhanujesha’ with swarams at the pallavi brought out the soul of the kriti.
The centrepiece of the concert was another Swati Tirunal kriti, ‘Ramarama guna seela’ (Simhendramadhyamam). The alapana was, as is to be expected, elaborate. On the violin, Melakkaveri Thyagrajan offered an articulate exposition.
The niraval and swaras at the usual ‘Munimanasa’ highlighted the raga’s richness. The thani by B. Sivaraman (mridangam) and G. Ravichandran (ghatam) revealed the charm of tisra nadai. Mention should be made of the excellent accompanying style of B. Sivaraman.
Detailed alapana
In the opening piece ‘Ninne Bhajana,’ Tyagaraja says, ‘O protector of the Universe, I meditate on you alone.’ After a detailed Nattakkurinji alapana, she rendered Gopalakrishna Bharati’s Nandanar kriti ‘Vazhi Maraiththirukkudhe’. Thiruvisanallur Venkataramana Iyer’s ‘Paripalinchu’ (Sudha Saveri-Khanda Chapu), had a well-structured chittawaram. Brinda concluded her concert with Oothukkadu’s ‘Eppaditthan en ullam’ (Nilambari) and the Khamas thillana.
