The right choice of songs and ragas go a good distance within the success of a live performance. And Nisha Rajagopalan proved to be adept at it. With exceptional stage presence, she commenced her live performance with Patnam Subramania Iyer’s ‘Abhimanamennadu’ in a pleasant Begada. Little surprise that the composer was often known as ‘Begada’ Subramania Iyer. Within the kalpanaswara section, she introduced out the richness of the raga by means of a number of of its vakra prayogas. On the violin, B.U. Ganesh Prasad was equally inventive in his response.
After an in depth alapana in Sriranjani, Nisha rendered Tyagaraja’s ‘Marubalga’ with niraval and swaras at ‘Dari nerigi.’ This was adopted by a powerful Dhanyasi raga essay for Papanasam Sivan’s ‘Balakrishnan padamalar’ (rupakam). This piece has two stunning madhyamakala segments.
Nisha rendered acceptable swaras for Tyagaraja’s ‘Makelara vicharamu’ (Ravichandrika). Her rendering of ‘O Jagadamba’ (Anandabhairavi, Syama Sastri) was testimony to her coaching beneath stalwarts. She maintained a leisurely tempo for this kriti.
After an elaborate Kalyani raga alapana, she sang one in every of Dikshitar’s masterpieces, ‘Bhajare re chittha,’ with niraval and swaras at ‘Devim sakthi beejotbhava.’ Clear diction, spectacular modulation and full-throated singing are her forte.
Ganesh Prasad’s elucidation and swaraprastara had emotive attraction. The thani in misra chapu between Manoj Siva and B.S. Purushothaman (kanjira) was marked by technical virtuosity and aesthetic excellence.
The true image of a number of rakti ragas may be present in Kshetrajna padams. Nisha’s subsequent was a padam in Sahana, ‘Chudare adinadeche’, with well-negotiated sancharas.
The live performance concluded with the Ragamalika, ‘Ganamazhai pozhikinran,’ composed by Ambujam Krishna in Behag, Bowli and Manirangu.