RAAGA Music Academy, one of the leading Sangeeta Sabhas of Mysuru,  provides a unique platform for bringing the three Vedic Sciences — Music, Ayurveda and Yoga — into focus under one roof.

The person behind this Academy is Dr. Poornima Krishnamurthy, a well-known Ayurveda Consultant. While running an organisation is no joke, Dr. Poornima has been managing this Academy with her busy profession which demands a tight schedule.

Ably supported by her Guru Vidu. Koviladi Kala, a renowned musician, vocalist and teacher and a dedicated team of music connoisseurs, RAAGA has been  successfully presenting good quality concerts over the last eleven years on the third Saturday of every month. RAAGA hosted two grand concerts on the occasion of its Decennial Celebrations on Aug. 3 and 4.

On Aug. 3, Vidu. Koviladi Archana Rao presented a vocal concert at Mysore Vasudevacharya Bhavana in city accompanied by Aditi Krishna Prakash on violin and Tumkur B. Ravishnakar on mridanga, S. Narayana Murthy on ghata and Yashasvini on tamboora.

Hailing from a family of musicians, Archana, daughter of noted musician Koviladi Kala, is under the tutelage of her mother. It is a wonder how this las manages everything so beautifully — her job (she is a Chartered Accountant), her family (with a two-year-old kid) and her music which is heavenly. And she scores 100% in all!

Archana opened her concert with the varna in Atta Tala ‘Vanajakshi’ in Kalyani, displaying all her traits that promised a good concert in the offing. Swati Tirunal’s ‘Parama Purusha Jagadeeshwara Jaya Jaya’ followed with brisk and crisp swaras. As the daughter and the foremost disciple of Koviladi Kala, Archana frequently brings in shades of her Guru’s style.

Kapi was indeed mellifluous with a rare composition ‘Kalaye mama hrudaye’ by Mysore Vasudevachar set to Khanda Triputa Tala. Shanmukhapriya alapana proved Archana’s skill as a vocalist. Her honeyed voice traversed in all ranges with absolute ease and there was no trace of strain anywhere throughout. Patnam Subramanya Iyer’s popular ‘Marivere dikkevarayya RAma’ saw a detailed neraval at the usual ‘Sannutanga Sri Venkatesha Neevu’ and the swara passages were intelligent and elaborate. Aditi replied aesthetically with her violin.

The next song was yet another rare composition — ‘Sri Guruvara’ by kamalesha Dasaru. The interesting part of the composition was the rare raga in which it was tuned. The devaranama was tuned by her grandfather Sri Koviladi Rangarajan in Ganamurty.

This was followed by the main attraction of the evening Kambhoji. While both Archana’s and Aditi’s versions of the raga essay were commendable, the presenting of Sri Tyagaraja’s  vilamba kriti  ‘O Ranga ShAyi’ succeeded in bringing the devotional element in the compositionwith an appealing neraval at ‘Bhooloka VAikunTam’ followed by a swara essay which displayed her skill in laya.

The brisk paced passages enabled Ravishankar to give ample display of his percussive skill, which came to the fore in his taniyavartanam with Narayana Murthy’s Ghatam.

Post taniyavartanam, Archana chose to sing an RTP in Kanada. The raga which was short and the Tanam were marked by pleasing gamaka-oriented sancharas. The pallavi ‘VeNugAna lOla karuNAlavAla’ in a complicated Chaturashra Triputa tAla set to Khanda Nade was well essayed with creative combinations. Swift changes in the ragas in ragamalika with Purvikalyani, Bhatiyar and Revati showcased the vocalist’s command and stage experience.

The concert concluded with a Lalgudi tillana in Mand and the devaranama ‘Elliruve Tande BAro Maruti’ by Sri Bagepalli Shesha Dasaru.

—Dr. Padmavathi Narasimhan