Jayanthi Kumaresh never fails to impress rasikas with her creative approach

Jayanthi Kumaresh’s veena recital turned out to be a unique ensemble, featuring rare ragas. She was supported by H.N. Smitha on the violin, B Jayachandra Rao on the mridangam and Pramath Kiran on the tabla and morsing.

Jayanthi started with ‘Karunimpa’, the Sahana varnam. The second item was ‘Muddu momu’ by Tyagaraja in raga Suryakantham. In the closure, the pallavi was adorned with an impressive chain of swarakalpanas.

A slightly sombre raga treatise of Surutti led to ‘Srivenkata girisam’ by Muthuswami Dikshitar.

Then came the pleasantly surprising, detailed treatise of Sarasangi, the 27th Mela raga. Jayanthi navigated the raga through expert moves and glides, highlighting its nuances. The kriti was ‘Neekela dayaradu’ by Ramaswami Sivan set in Khanda Chapu. Jayanthi and her team shone in the swara segment.

Jayanthi Kumaresh with Smitha (violin); Jayachandra Rao (mridangam) and Pramath Kiran (tabla and morsing).
| Photo Credit:
RAGHUNATHAN SR

‘Ithi samayamura’ by Tyagaraja in Chaya Nattai came up next. She shared with the audience that she is planning an RTP in Hamsanandi set to Adi tala. The bhava-soaked alapana was shared by violinist Smitha. The pallavi went like this — ‘Vasa nivasaa srinivasa jagam pugazhu ezhumalai’.

The tanam was energetic, yet soaked in melody.

The enjoyable tani avartanam saw Jayachandra Rao and Pramath Kiran play without high-decibel articulations.

Jayanthi signed off her concert with a Narayana Tirthar composition in raga Behag and ‘Kamakshi lokasakshi’ in Madhyamavati.

What set apart this concert was the inclusion of violin, mridangam, tabla and morsing. Jayanthi is always creative, and her offering of Sarasangi stood tall and majestic.