Raaga Music Academy of Mysuru had organised an engaging vocal recital on Mar. 29 at Ganavisharadha Sri Bidaram Krishnappa’s Sri Prasanna Seetharama Mandira.

The concert featured the young and dynamic Vidu. Dhanya Dinesh Rudrapatnam, accompanied by the talented Vidu. Pruthvi Bhaskar on violin, Vid. Nandan Kashyap on mridanga and Srinidhi Koundinya on ghata. The ensemble enthralled the audience with their captivating music.

Dhanya, a disciple of Neyveli Santhanagopalan and Delhi P. Sunder Rajan, is blessed with a rich and resonant voice that  traverses effortlessly across three octaves. In addition to her musical accomplishments, she  holds a BE Degree in Biotechnology. She has gained considerable performance experience at prestigious Sabhas across the country.

From the opening Varna in the Raga Hameer Kalyani by T.R. Subramanyam (TRS), Dhanya  maintained a steady tempo and a strong presence throughout  the concert. She paid rich obeisance to Lord Sri Rama through ‘Janakil  Ramana,’ a composition of Tyagaraja in the Raga Shuddhaseemanthini.

A brief sketch of Madhyamavathi showcased her creative manodharma (musical imagination). Dhanya’s ease at executing complex spirals and her melodious voice allowed her to navigate the higher octaves with remarkable fluidity. One of the most striking features of her performance was her unwavering enthusiasm, which translated into energetic and expressive renditions of ragas and kalpana swaras.

The rendition of Tyagaraja’s ‘Adigi sukhamulevvara’ featured a soulful neraval at ‘Sarvabhouma saarasaksha sadguna’ and a lively round of Kalpana swaras which was thoroughly enjoyable. Another noteworthy item was the lesser-known composition of Maha Vaidyanatha Iyer in the raga Nagaswaravali ‘Sri Shankara guruvaram’  rendered with a vigour and a captivating chitteswara segment.

The highlight of the evening was a Raga-Taana-Pallavi in Poorvi Kalyani set to the challenging Sankeerna jaathi Jhampe taala. Needless to say, Dhanya and Pruthvi Bhaskar stole the show with their skilful imaginative execution. Pruthvi’s supportive and responsive playing throughout the concert  was commendable.

The Pallavi line ‘Velan Shivabalan Varagunasheelan Shreevallilolan’ was set to a complex taala posing a challenge not only to the lead artiste, but also to the accompanists as well. Both Nandan Kashyap and Srinidhi Koundinya rose to the occasion, showcasing impressive command and rhythmic sensitivity. The concert concluded with a vibrant Tillana in Raga Suruti, bringing the curtains down on an energetic and memorable musical evening.

—Dr. Rama V. Bennur