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A rendezvous with joy
CHENNAI, December 19: She was relaxed. She was easy. Her smile was infectious. She looked a very different artiste this evening. She was out to enjoy her music. Not surprisingly, Bombay Jayashri’s concert for Kalarasna on the cool Sunday evening (December 19, 2010) at Rani Seethai Hall spread so much warmth. Relaxed indeed was she. But she stayed focused. The 160-minute concert brought bliss all around the Hall, as the audience was treated to a vintage Carnatic music. Jayashri looked very much a freed artiste; freed of compulsions to prove and impress others. In the bargain, she made everybody around joyous. Taking cue, her accompanists on stage too unfroze. The net result was that they all set out to dish out high quality music. Combining dedication and devotion, Jayashri led the audience slip into a state of tranquility with her reviving music. She sang some lovely compositions of Thyagaraja. “Teratiyagarada” (Gaulipantu) was the starter. Her soulful rendering straightened the audience, kindling its expectation. Nalinakanti kriti “Ni Padame Gati” was lovely to hear. Jayashri made the evening delightful, as she rendered many Thyagaraja kritis with clear diction. Her Mohanam shone like a pole star in the Sunday night sky. A sprightly alap was followed by ``Mati Matiki Delpavalena”. Mohanam had rapt listeners. Jayashri made a neraval at “Srungara Shekara Suravairi Raja”. She elevated the kriti by decorating it with a garland of beautiful swara patterns. Mridangist J. Vaidyanathan and Anirudh Athreya on the Kanjira played with zest as Jayashri chiseled the swaras with great felicity. Seasoned H.N. Bhaskar was at his expressive best. He played just adequately to keep the focus firmly on the main artiste.

The evening had much more surprises in store from Jayashri. After rendering “Parandamavathi Yuvathi Parvathi” (Dharmavathy) of Dikshitar, she slipped into Bhairavi. Her voyage into Bhairavai showed the distance traveled by Jayashri into the sea called Carnatic music. Bhairavi alap was sumptuous. Thyagaraja’s “Tanayuni Brova” has thoughtful lyrics. Jayashri made a neraval at “Vatsamu Venta Dhenuvu Chanuno”. She made the kriti-singing an enjoyable exercise. She added colour to it by sprinkling it with delightful swaras. The `thani’ saw Vaidyanathan and Anirudh Athreya play with gusto. Thyagaraja’s “Sarasa Sama Dana Bedadanda Chatura” (Kapinarayani) was melodious. What followed was the much-awaited RTP (ragam, tanam and pallavi). Beginning with an alap in Hamsanandi, Jayashri made a transit to Andolika with ease and fineness. Dvi-raga Pallavi-singing is Jayashri’s speciality. The way she made the exercise lot crisper and the way she embellished the Pallavi with swaras in ragas such as Bhupalam, Kanada and Hamirkalyani bore the unmistakable Jayashri brand. She reversed to the main rag with consummate ease. Her pallavi selection was a long one: “Erul Ara Ninai Kadir Vadivelanai Panniru Kaiyanai Valli Manalanai”. It was set to Misra jati Jhampa tala in erandu kalai. As a tailpiece, she sang “Rase Hari” of Jayadeva Astapadi and “Ragi Tandiro” of Purandaradasa. Her tillana in Vasanthi of Lalgudi G. Jayaraman was like a gem. To experience melody by singing is one thing. Bombay Jayashri is now out to enjoy it by singing, it appears.

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