Bhagini Raaga Sourabha’ is the flagship concert series of Raaga Music Academy, now presented in collaboration with BSS Vidyodaya. The series has found its new home in the serene and aesthetically designed auditorium of BSS Vidyodaya in  Krishnamurthypuram.

The second concert in this series took place recently, featuring an enchanting classical vocal recital by Vidu. Archana Koviladi. She was ably accompanied by Vidu. Adithi Krishnaprakash on violin, Vid. G.S. Ramanujam on mridanga and Vid. Sharath Kaushik on ghata.

Archana, the daughter and disciple of Vidu. Koviladi Kala, balances her professional life as a Chartered Accountant while maintaining an unwavering commitment to classical music.

Her performance demonstrated not only technical finesse but also a deep emotional connect with the art form.

She began with a confident and crisp rendering of the Saveri varna, followed by ‘Baagaayanayya’ in Chandrajyothi, a delightful composition of Tyagaraja.

A brief but evocative alapana in Natakurinji led to a graceful presentation of Swathi Tirunal’s ‘Maamava sadaa varade’, with a neraval at ‘Lalita mani hara sulalite mampahi’ adding a touch of creative flair through kalpana swaras.

Vijayadasa’s ‘Bandu ninta kanna munde Krishna’ in Faraz was a soulful interlude.

As it was Navaratri season, the theme for the concert largely revolved around Devi compositions. Among them, ‘Sarasijanabha sodari’ in Nagagandhari by Muthuswami Dikshitar, though melodious, could have carried a little more weight in its delivery — especially considering its historical resonance in Mysuru.

The highlight of the evening was the majestic Kalyani, a raga that never fails to captivate the audience.

Both Archana and Adithi explored its grandeur with exquisite imagination and command, culminating in a resonant performance of ‘Bhajarere Chitta’ by Muthuswami Dikshitar.

The duo’s interplay during the kalpana swaras displayed a mature and rich manodharma.

On percussion, Vid. G.S. Ramanujam, one of Mysuru’s most seasoned mridangists, brought a refined rhythmic depth to the concert. His sensitive accompaniment, marked by precision and nuance, was matched by the young and promising Vid. Sharath Kaushik on ghata, who complemented him with dexterity.

The concert concluded with a Raga-Tana-Pallavi in Varamu, though slightly hurried — a common trend among younger artistes today who often compress the grandeur of RTP into a shorter format. Nevertheless, it was a commendable attempt. A Devaranama and a vibrant Tillana brought the concert to a graceful close.

—Dr. Rama V. Bennur