On the 24th of June, M.A. Shobha gave a vocal recital at Sri Nadabrahma Sangeeta Sabha, Mysuru.  Shobha has a rich voice which easily catches the higher octave. But if she intends to take classical music more seriously, she will have to work hard towards her voice which is otherwise more suitable to sing light music.

Shobha was accompanied by Srinivasa Murthy on violin, Sai Shiv Lakshmi Keshav on mridanga and Srinidhi on ghata.

Shobha began her concert with the Kalyani Atta TAla varna ‘Vanajakshi’ by Pallavi Gopala Iyer followed by a short Alapana in Gambheera NAta leading on to the expected ‘Girija Ramana nata jana sharana’ by Mysuru Vasudevacharya. ‘Venu Gana lolunigana’ in Kedara Gowla by Tyagaraja was a pleasant surprise though the rendition required more weighty classicism. Reetigowla was confusing with a lot of Ananda Bhairavi phrases and the violinist was in a dilemma whether to play Ananda Bhairavi or Reetigowla. Shobha however       settled with Reetigowla towards the end of the alapana and sang another Tyagaraja composition ‘Raga Ratna malikache’ set to Roopaka tala. ‘Bhagavatottamulu koodi’ found a neraval and short swaras.

The rendition of Deekshitar’s ‘Shree MAtrubhootam’ in Kannada had no mistakes but the    presentation was a proof that the rendition of any song fails to impress the listener without aesthetics or bhava.

Mysuru Vasudevacharya’s rarely heard composition ‘mAnamuto nannu brova raada’ in Shanmukhapriya  was the main attraction of the evening. Neraval at ‘Karimoralida neevu karunato brovaleda’ was fairly good but kalpana swaras, if written and sung prove lack of preparation in a concert and cannot therefore appeal to the audience. They are called kalpana swaras because they need to spring from one’s imagination and so should flow spontaneously. Pre-set Swaras for this composition and also the Reetigowla one became monotonous.

Sai Shiv and Srinidhi not only offered a tremendous support to the concert throughout but also played a very lively Taniyavartanam.

The artiste performed better in the post-tani part which contained devaranamas and a ashtapadi. ‘Kande Kande Swamiya bedikonde’ in Ahir BHairavi, Harirabhi sarati’ by Jayadeva in Charukeshi, ‘Vydyana naanariye’ in Shree and ‘Hari neene gati endu’ in KArna RAnjani were good and pleased the audience.

— Dr. Padmavathi Narasimhan