N. J. Nandini Carnatic Vocal at Kalakshetra Foundation, Thiruvanmiyur, ECR.

N. J. Nandini Carnatic Vocal at Kalakshetra Foundation, Thiruvanmiyur, ECR.
| Photo Credit: KARUNAKARAN M

N.J. Nandini’s struck a assured be aware on the Kalakshetra Foundation’s Sunaadam music pageant held just lately on the aesthetically designed Bharata Kalakshetra auditorium. . Though she didn’t bask in any theatrics, there was by no means a uninteresting second.

The begin itself was full of life with ‘Satatam tavaka’ by Swati Tirunal in Karaharapriya. The vibrancy continued with her well-knit swara package deal in two speeds. The finale was constructed on daivatam-centric swaras in a commendable method. Solemnity dominated excessive within the subsequent piece ‘Mamayura meethileriva’ (Bilahari) by Mazhavai Chidambara Bharati. It carried an interesting chittaswaram in various rhythm.

NJ. Nandini’s vocal concert at Kalakshetra Foundation, Thiruvanmiyur.

NJ. Nandini’s vocal live performance at Kalakshetra Foundation, Thiruvanmiyur.
| Photo Credit:

Nandini selected to elaborate Suddha Dhanyasi in a gradual and regular method. The raga with its full of life in addition to melodious motifs provides sufficient scope to discover. Nandini’s raga essay highlighted the nuances of Suddha Dhanyasi. It offered a neat preface to Muthuswami Dikshitar’s ‘Subrahmanyena rakshitoham’, a kriti not typically sung on live performance platforms now. The serene Hamir Kalyani kriti ‘Gangeya vasana dhara’ once more by Swati Tirunal introduced in a change of temper. ‘Sadamadin talatu’, the uncommon Gambhirvani Tyagaraja kriti, adopted.

Rich in raga bhava

The piece de resistance of the live performance was an elaborate treatise of raga Thodi. The kriti chosen was ‘Venu gana ramana’ by Oothukadu Venkata Subbaiyer. Nandini’s rendition carried sufficient attraction and raga bhava. Niraval in several speeds got here at ‘Vitarana guna nipuna’, the road in pallavi. This was adopted by a cascade of swaras in a number of mixtures.

Raghul on the violin demonstrated his ingenuity in alapanas and swara segments. Ok.V. Prasad, the veteran mridangist, prolonged glorious help to each the vocalist and the violinist. The gradual, regular and excellent tani avartanam was a mélange of rhythmic patterns.

Nandini drew her live performance to a detailed ‘Enthu njan iha cheyyu’ in Nilambari by Swati Tirunal and ‘Eru mayil eri’, Arunagirinathar’s Thiruppugazh verse, set in ragamalika.

Trained under a number of illustrious gurus, Nandini’s live performance proved her commendable vocal skills.

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