By Dr. Padmavathi Narasimhan

On the eighth day of the Ramothsava celebrations on Apr. 6, Vidu. N.J. Nandini from Trivandrum sang for the Sangeethotsava series. She was ably accompanied by Vid. Mathur Srinidhi on violin, Vid. B.C. Manjunath on mridanga and Vid. G.S. Ramanujam on ghata. Blessed with an extremely melodious voice that ranges to almost three octaves, Nandini mesmerises her audience with her own ravishing and delightful style.

Nandini had carefully listed the compositions to be presented for the concert. Each one of the compositions (which ran to more than ten) had its own special features to offer.

While Tyagaraja’s popular ‘Dinamanivamsha thilaka lavanya’ in Harikambhoji satisfied the listeners in presentation and kalpanaswaras, the very next composition in Bhupala, ‘Gopalaka Pahi Maam anisham’ by Maharaja Swati Tirunal was a good contrast in mood. Tyagaraja’s ‘Ninnadane nela’, a rare composition hardly heard in concerts, set to Khanda Chapu tala, sung with kalpana swaras, was crisp and brisk.

The alapana of Varali was easy flowing with confidence and clarity. Here again, another rare kriti of Tyagaraja was chosen ‘Ne Pogada Kunte’, wherein Nandini excelled in niraval and kalpanaswaras, choosing a tricky place in charana ‘neerajanayana nee Tyagaraja chirupaga’ proving her skill in laya, which is a result of years of hard practice. Nandini sang ‘Ranganayakam’ (Deekshitar, Nayaki, Adi vilamba) with feeling and ‘Sada nadim dalatu’ in Gambhiravani by Tyagaraja provided a subdued contrast in tempo and melody.

The artiste’s creativity was showcased in the main item of the evening ‘Bhavayami Raghuramam,’ which was presented in a rare style. Nandini sang the alapana in ragamalike, stage by stage, including all the ragas that Swati Tirunal has weaved into the composition, in the same order, widely using her imagination. Each raga was sung explicitly well and Srinidhi’s version of each raga was also filled with essence. The composition was sung in an unhurried manner, with crystal clear diction and a mélange of swaras followed for the first line of each of the ragas with mastery, gliding over easily from one raga to another and finally the muktaya chosen to wind up was also in tune with the muktaya of the chitteswara in the composition. Taniyavartanam by Manjunath & Ramanujam was compactly framed. ‘Baro Krishnayya’ by Kanakadasa and ‘Swati Tirunal’s ‘javali ‘Saramaina Matalento’ in Behag were rendered with classical purity. The concert concluded with a tillana in Bagesri.