Shruti S. Bhat’s concert was both aesthetically and technically impressive.
Shruti S for Nada Inbum. Bhat’s concerts were distinguished by their elegance and skill. There was nothing frenzied in his music. Perhaps it is because he has trained under veteran Chingleput Ranganathan and senior singer S Soumya.
The kamboji raga had dignity and emotional character, in line with the work, Thyagaraja’s ‘Marimari Ninne’, which is rarely heard these days. It used to be one of the masterpieces of the Alathur Brothers. Shruti adopted the charanam line, ‘Karunato Dhruvanikedhu’ for the nirval and swaraprastar. On violin, M. Vijay was at his best in Alapana. He stood up well to every challenge presented by the singer. The final battle of the two was impressive, both technically and aesthetically.
B. Ganapathiraman (Mridangam) offered a lively Thani, displaying an effortless and joyous artistry through the concert, with many signs of his rhythmic refinement.
The Shruti begins with Sahana Varnam ‘Karunimpa’, composed by Tiruvotriyur Thyagyayar with swaraprastara in Pallavi. He then worked with Patnam Subramaniam Iyer’s Saurashtram composition, ‘Ninnujuchi Dhanyudati’. His interpretation of Ritigowala was beautiful, with Tyagaraja’s ‘Ragaratna Malikache’ as the composition. Niraval was in ‘Bhagavatottamalu Kudi’.
Shruti then took on the prolific Mysore Vasudevachar’s popular Sundavinodini work, ‘Devadi Deva Sri Vasudeva’, rich in devotion, and followed it up with Nilakanta Sivan’s ‘Enraikku Sivakripai’.
The singer’s rendition of Gopaldas’s ‘Ena Bedali Ninna Balige Bandu’ in Revati evokes the spirit of the song. ‘What more can I ask for when you have blessed me? Good fortune,’ Musicians say. Earlier two Purandaradas were in Ugabhog, Hindolam and Revati. Shruti concluded with a touching Meera Bhajan, ‘Koi Kahiyor Prabhu Aavan Ki’ in a poignant Miya Malhar.
The concert is available on Parivadini’s YouTube channel.
The Chennai-based critic specializes in Carnatic music.
,