By Sudha Jagannathan
Some are fascinated by it. They have it at homes just to quench their desire. For them, it is merely a showcase piece. Not for her, though. She touches, feels and immerses into Veena. Her Begada raga alap followed by the kriti “Kadaikann vaithu” was rendered with fineness. Jayanthi Kumaresh is indeed a blessed artiste. Perhaps, Goddess Saraswathi resides in her, and embellishes her music. Her two-and-a-half hour concert for The Music Academy on the evening of December 30, 2019 was classy. Mukari raga kriti “Emani Ni’’ of Subbaraya Sastri had the Jayanthi stamp coated with melody. She spoke, and spoke through her Veena. Her vidwath revealed the hard work and non-stop perseverance behind it. This is not the easiest of instruments to master. Her command over the instrument, the unhesitating articulation of phrases, and calm countenance – they have all combined to position Jayanthi uniquely in the world of instrumental music. If Veena the instrument triggers a sense of tranquillity in the mind and body, Jayanthi Kumaresh is a peace messenger of necessity in the modern world. Earlier, she started the concert with a Rasali kriti of Thyagaraja “Aparadamula Norva”. She was set to make the evening tranquil with her prowess over the divine instrument. For uninitiated, it was a bit tough to identify the kritis in an instrument such as veena in the absence of a prior announcement. Only connoisseurs and vidwans can understand the fabulous kritis played by her. It must have been a really taxing exercise for artiste Jayanthi to play for more than two hours in such an auditorium like The Music Academy sans the support of violin. She had a breathing space only during tani avarthanam which was played by Jayachandra Rao and Tiruchi Krishnaswamy. It was a pleasant tani and the two exhibited good control. Her RTP in Keeravani was fabulous. She interspersed it with ragamalika niraval and swaras in ragams such as Malayamarutham, Natta, Gaula,Arabhi and Behag. She also played “Pibare Ramarasam” in Ahir Bhairav.