Krithika Natarajan offered a well-nuanced Carnatic concert rooted in tradition

In her concert for Kedaram’s 10th Isai Vizha, Krithika Natarajan offered the audience both aesthetics and melody. The extensive Abheri alapana, compact in expression, had a classic base. Krithika’s perfect modulation and rendering brought out the soul of the raga, and the song that followed was ‘Bhajare re manasa’ by Mysore Vasudevachar. The architecture of the three segments — alapana, kirtana and swaraprastara – was well-designed. On the violin was Sruti Sarathy, who, in allegiance to the Lalgudi style, created a charming structure of the raga both during the alapana and the kalpanaswara segments. Sai Raghavan on the mridangam duetted with S. Sunil Kumar on the kanjira, and the duo executed a brilliantly thani.

Earlier, Krithika commenced her concert with the varnam ‘Chalamu seyanela’ in Valaji, by her guru Lalgudi Jayaraman. The Purandaradasar devaranama ‘Vandisuvadaadiyali gananaathana’ in a melodic Nattai came up next.

The elaborate Purvikalyani alapana by Krithika enriched the raga swarupa. Sruthi offered an aesthetic elucidation. Tyagaraja’s ‘Para loka saadhaname’ with brilliant niraval and swaras at ‘Tanayadi baandhavula bhramache’ followed.

‘Kumaran taazh paninthe thuthi’, in Yadukula Kamboji, a brisk, yet soothing kriti by Papanasam Sivan, was a neat rendering. This was a favourite of D.K. Jayaraman). ‘Irakkam varaamal ponathenna karanam’ in Behag (Rupakam) by Gopalakrishna Bharati, a KVN masterpiece, had a poignant touch.

Krithika wound up with a thillana in raga Vasanthi by Lalgudi Jayaraman in Misra Chapu, and the Tiruppugazh ‘Agaramumaagi’ on Pazhamudhircholai. Her captivating manodharma stood out through out the recital.