Aishwarya Vidya Raghunath proves herself worthy of the senior slot at The Music Academy

Aishwarya Vidya Raghunath with Ganesh Prasad (violin), B.C. Manjunath (mridangam), and Bagyalakshmi (morsing)
| Photo Credit: K. Pichumani

Aishwarya Vidya Raghunath’s music that has seen rapid strides in recent times, attained another milestone with the senior slot at The Music Academy. She demonstrated that she is fully prepared to play for the higher stakes. There was good articulation of raga swaroopas, confidence in execution and an infectious enthusiasm and energy that engulfed the stage.

‘Intha chalamu’ (Begada varnam) was a quiet start. Unexpectedly, Aishwarya picked up the dynamic kriti, ‘Sankari samkuru’ by Syama Sastri in Adi Tisra nadai. The oscillations in the kriti suit her style of busy vocal output. This was followed by peppy swaras. She also sang a few charanams not often heard. The vocalist, an engineer by training, had already electrified the mood.

A brightly rendered Mukhari raga alapana that encompassed many rakti phrases, was followed by the epochal ‘Ksheenamai tiruga’ (Tyagaraja, Adi). The kriti offered sangathis in higher notes as well as briga-laden phrases that Aishwarya produced with ease, deploying the full grandeur of the kriti. Many a time, the secret of the rendition lies in choosing a good kalapramana. Aishwarya’s musical sense ensured a brisker pace that the kriti needs. Niraval at ‘Ethijesina’ had some serene moments at the lower registers, followed by crisp swaras.

Aishwarya lent an aesthetic touch to the Harikamboji alapana
| Photo Credit:
K. Pichumani

‘Sree Guruguha’ (Purvi, Dikshitar) is a characteristic slow-paced rare kriti by the composer that provided novelty infusion although its ability to enhance the concert was doubtful. Aishwarya began the raga alapana of Harikamboji with a clear and quick outline of its unique identity and went on to sketch all the ascends and descends. Her quick-footed free flow laced the alapana aesthetically. 

Ganesh Prasad’s alapanas of Mukhari and Harikamboji were of a high quality, relying mostly on short impactful phrases. The pallavi, ‘Harikesa jaaye’ in Chatusra Dhruva tala, Khanda nadai, set by Aishwarya’s guru, R.K. Shriramkumar, had good enunciation of the tala structure and some complexity. It helped Aishwarya showcase her laya in the niraval and tri kalam. 

The skill of a percussionist in playing well-aligned sollus for a complex pallavi is more than a packaged tani. B.C. Manjunath demonstrated his proficiency in the pallavi. Bagyalakshmi on the morsing supported well.

A cascade of rakti ragas flowed in the swara part — Yadukula Kamboji, Sahana and Surutti. A pleasant rendition of ‘Ninnujoota’, a padam in Punnagavarali, gave a glimpse of Aishwarya’s skill in authentic rendition of karvai and pause-filled compositions. A Nattakurinji finale marked the conclusion of a good concert.

Ganesh Prasad is a mature violinist and plays according to circumstances without intrusion. That gives a significant tail wind to the vocalist. At times, Aishwarya traded clarity for speed, an aspect she may need to be mindful of. One also feels that concerts of this nature should feature a few more pieces to offer broader variety. We are now down to a three-or four-piece concert in two-and-a-half hours.