CHENNAI: Vocalist Sudha Raghunathan’s aesthetic approach and commitment evoked a phenomenal response from the audience.When I heard Sudha Raghunathan perform for the Thyaga Brahma Gana Sabha at Vani Mahal, the question — what makes a singer successful?-- came to my mind. Vidwat, voice or the presentation tempo? Even if one element is absent, then the concert is not as impressive as it ought to be. Normally, her style of presentation is characterised by vivacious rendering. When she explored (Muddu Momu Yelaga) in the Raga Suryakantham (the 16th Melakartha) of Thyagaraja, developing the swara patterns dexterously into a detailed Raga profile, replete with nuances, the charm of her presentation with verve was not evident, may be due to the ‘connived clipped throat’ in preserving her voice.Her resplendent presentation of Raga Abohi (Srilakshmi Varaham) of Dikshitar showed her superb comprehension of the Raga, which was brought out as conceived and revealed by the composer. The Atana Raga composition (Balakanakamaya) was taken up with sprightliness and sophistication, revealing the ebullient mood of the composer.The piece-de-resistance of the evening was Thodi alapana and the composition of Papanasam Sivan (Karthikeya Kangeya Gowri Thanaya). She reflected her involvement by effectively communicating the Raga’s emotive contents, through a session of sensitive niravals. Her involvement engaged keen listening. The piece (Muralidhara Gopala) of Thooran’s that followed in a pleasing tone of a classical kind was a feast for the ears.The concert was a reminder of the enduring quality of Sudha Raghunathan’s music but her presentation lacked the ‘viruviruppu’ expected of her. Pakkala Ramdas (violin) just participated while Palladam Ravi (Mridangam) proved to be an accomplished artiste, unfolding the laya exposition in the company of Raman (Morsing).
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