As performers exceed time slots during the season, young musicians must plan and present their concerts while keeping an eye on the clock. Aishwarya Vidya Raghunath made the most of the one-hour concert with her precise performance.
Raga is a vast ocean and one has to go deep to know its nuances. But realizing the time limit, Aishwarya delivers a smart synopsis of Shankarbharanam, touching on specific phrases from the raga. He focused on Shruti-based karvas in his opening portions and rounded out the alapana in the second volume with the fast-rolling Brigas. In Thyagaraja’s ‘Ami Neramu Nannu Brova’, a brief retelling of ‘Dinabandhuvani Devdevudani’ paved the way for vocals. With a few rounds of Keys art vocals, he turned to male art practice, focusing on the ‘ga’ note. Rounding off was done with neat extensions and combinations.
She managed to locate a heavy melody, Dhanyasi. Here again his musical prowess helped him produce an essay without sacrificing the scope of the presentation involved. Meenalochana Brova was sung by Shyama Shastri while retaining the underlying melody. Niraval was on ‘Gamma Palini Brova’ and a few streaks of vocals were added to it.
Aishwarya flagged off her concert with Subbaraya Shastri’s ‘Sankari Neeve’ at Begada with a Shadjam-focused imagination and ended her singing with ‘Sri Venkata Girisam’ in Surutti by Dixit. M. Vijay on Violin and K.H. on Mridangam. Vineet made good use of his time. It is not necessary to associate every work with swaras or raga essays to reinforce one’s potential. In fact, a dedicated recital with alpan or vocals for just one or two works is enough to establish an artist’s credibility.
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