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The winning art, Bombay Jayashri shows the way
CHENNAI: It was a grand evening of October 12, 2013 at The Music Academy for the audience comprising business men, artistes and rasikas with a high tea to begin with. The high tea, hosted by Ms. Mallika Srinivasan (Chairman of TAFE Limited), daughter of late Indira Sivasailam, was a precursor to an award function that was followed by a classical recital. The Indira Sivasailam Endowment Fund was set up in 2010 under the auspices of The Music Academy. The evening saw Bombay Jayashri getting this year’s Indira Sivasailam Endowment medal. As has been the practice, the award winner gave concert. An iconic personality in the Carnatic music world, Bombay Jayashri has a huge constituency of fans. Diehard Jayashri rasikas have come in full force not only to see their favourite artiste win an award but also to listen to her music.

The concert was impressive from the word go. It began with “Rave Himagiri Kumari” (Todi) swarajathi of Shyama Sastri. Kritis of Dikshitar, Thyagaraja and Shyama Sastri are always traditionalists’ delight.

Bombay Jayashri’s concert was aesthetic, especially for the way she handled the kritis in her unique style with crystal clear rendition. This concert was indeed for the connoisseurs of music, judging by the way Todi, Bhairavi, Suddha Saveri followed one after the other. Receiving the award at the venerable institution, the Oscar award nominee went nostalgic, and pointed to the completion of her 25 years of association with The Music Academy. As the Hall was full, many had to be accommodated at the LCD-installed Mini Hall to listen to the concert.

Since it was the eight day of the Navaratri festival, Bombay Jayashri picked the kritis on Mahalakshmi -“Hiranmayim Lakshmim” (Lalita) of Dikshitar, on Parvathi –“Darini Telusukonti’’ (Suddha Saveri) of Thyagarja, and "Lalithe Sri Pravrdde” (Bhairavi), a Devi kriti of saint Thyagaraja (among Lalgudi Pancharatnas). The piece de-resistance of the concert came when she explored the Poorvikalyana raga with grandeur. She chose a composition on Madurai Meenakshi “Meenakshi Memudam Dehi” of Dikshitar. It was a soul- stirring rendition. She then threw a surprise with her manodharma sangeetham. She explored raga Desh and selected an impressive pallavi on Devi Saraswathi - “Varadhe Sarade Sakala Shuba de Saradindu Vadane Pahi”. She shifted to a few ragas such as Kapi, Hamsanandi etc., and reversed to Desh in style. Sri Jagadeeshwari Durga (Ahir Bhairav) was melodious. “Ayikagha vahini” Astalakshmi stotra in Shuba Pantuvarali was delicately impacting. Her Durga Thillana was impeccable. Tani avarthanam between Manoj Shiva on the Mridangam and Anirudha Athreya on Kanjira was impressive. H.N. Bhaskar measured up to the artiste’s demands, and followed her vocal nuances appropriately.

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