Vasudha Ravi presented a well -structured concerted program. , Photo Credit: Special Arrangement

Vasudha Ravi, who specializes in the songs and bhajan songs, directed the second part of his concert with a intimate rendering of ‘Tulsidas Nainan Ananan Anan Siyaram’ in Raga Subhapantri, then recalled MLV after a Veerautham in Sindhuvarvi. Bani, From which he is related. This was followed by a poignant performance of ‘Karunai Devem Karpagam’.

In Vasudha’s more than 20 years of training, the way he structured his two -hour concert for Kedaram Isai Wija and sang the Critis confidently with the right dictionary and intonation.

Artist Akaras Adorned with oscillations which were sometimes slightly stretched, with a avoidable vibrato, especially in high octas. Vasudha chose a lesser in Raga Gurjari to choose the Kriti Kriti ‘Gunizathi Natha’.

J. Mridangam of Vaidyanthan was measured and with ChittasvaramAt the right time. The main work for the evening was Tyagaraja’s ‘Ravinara Nilakada Niku’ in Kalyani. Kalyani’s Vasudha expanded in both Alpana and Nirawal.

Tani Utnam, which J. on Ghatam. Vaidyanathan and H. Prasanna is characteristic, simple and well coordinated.

Vasudha started her concert in Severy with the Vanam of Kothawasal Venkatrama Iyer. Chauka Kalam and rope Dhurita Kalam were given with poetry. This was followed by ‘Ram Nannu Brovada’ in Harikamboji. Vasudha’s expressive singing suggests how she internal the song. For example, in ‘Tappu Panulu Leka UND’, where the musician asked Rama for safety, saying that he was not involved in any dishonest acts, Vasudha caught emotions in the songs.

The expansion of Vasudha of Anandbhairavi was widespread. He sang ‘Marivare Gati’. His intimate rendering for the evening also included ‘Ganmurhe’ of Tyagaraj in Raga Ganamurti.

He concluded the concert with Lalguri Jairam’s Thailana in Khamas. R. Raghul’s violin was clear and crisp and was in the sink with the singer throughout the concert.

Lathangi Sisters Concert was dedicated to Tyagaraj

Archana and Samyavi, known as Lathgi sisters, watched their concerts on the Kyanegraj Critis. , Photo Credit: Special Arrangement

Archana and Samyavi are popularly known as Lathgi sisters. While one has a powerful voice, the other has a sweet texture. His presentation focused on Tyagaraja’s compositions and avoided a lot of manodarma.

The artists began with ‘Subilu’ at Raga Jaganmohini. The sisters complemented each other during Kalpaneshwar.

He sang ‘Koluayyunade’ in Devegandhari next time. They used to bring out poignancy in ‘Durmargchara’And were the best in your expression‘Dharmatma Dhana Dhanyamu Divamu Niwai Anandaga’.

In Chenchu ​​Kamboji, a stunning ‘Vara Raga Lea’ was marked by singing synchronized of Chittasas. Following a detailed performance from Bilhari, where the sisters sang ‘Dorkuna Ituvandi Seva’. He adopted an artworityThis allowed them to display the best phrases of the raga. However, it was quite clear that sisters require more experience when it comes to Manodarma. M. The violin compatible by Vijay was clean -sutra, and he was well stuck to the grammar of the ragas.

The singers concluded the concert in Ahai with another Tyachagraj Kriti ‘Sompaina Mansutho’.

Senior artists Pongulam Subramanian and Krishnan were with young sisters on Mridangam and Morsing respectively. Their Sangat, Sarvalaghas, Force, Nadis and KorvisReminded one of the traditional style of playing.