Sublime music, blessed devotees
It was the first concert of the annual series at Kapalishwarar temple on April 4, 2016. The Kumbhabhishekam was performed only the previous day at the temple. The atmosphere inside was aesthetic. Devotees thronged the temple to have a darshan of their favourite deities Sri Kapalishwara and Goddess Karpagambal. And, they also had a lovely listening experience. Bombay Jayashri’s music that evening was sublime, and had a tranquilising impact on the listeners. She was divinity personified as she made her singing an enjoyable experience. She was at peace with herself, and delivered each and every kriti with dedicated devotion. The audience consisted of Carnatic music connoisseurs and devotees. And, they listened to her music equally with great interest and attention. Jayashri reflected M.S. Subbulakshmi when she sang “Paratpara Parameshwara (Vachaspathi). She took everyone by surprise while she sang “Eppo Varuvaro” (Jonpuri) of Gopalakrishna Bharathi. This song was made popular by Madurai Mani Iyer. Jayashri’s feminine version of this kriti was enchanting. Her alaap in Todi was sublime. “Tamadamen Swami” of Papanasam Sivan was graceful. “Sivagama Sundhari” (Jaganmohini) was rendered impressively. It was a hot day but the temple beckoned everyone inside with a pleasant breeze and the music that followed was soothing. She earlier sang “Nadaloludai” (Kalyana Vasantha) of saint Thyagaraja and “Inta Sowkiyamani”(Kapi) was indeed a listeners’ delight. Jayashri sort of merges with audience while singing in temples compared to sabhas where she restricts herself to selective kritis, which are not usually a listener’s choice, or try to introduce many rare ones. This temple seems to be her most favourite place, and she sings here with great felicity. Jayashri rendered a virutham “Kadalagi Kasindhu” (in Ranjani & Darbari Kanada). She ended her concert with her guru Lalgudi Jayaraman’s thillana in Hamir Kalyani.
J.Vaidyanathan on mridangam and Purushottam on Kanjira were harmonious, and splendid during the tani avarthanam. Embar Kannan’s violin version was exhilarating.
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