Gayathri Venkataraghavan’s concert for the Mylapore Arts Academy, accompanied by Mysore Srikanth on the violin, N.C. Bharadwaj on the mridangam, and Sunil Kumar on the khanjira, was a beautiful blend of classicism and emotional depth.

She began with a shloka, her voice strong and resonant, filling the hall with a sense of divinity. It was a serene opening, perfectly setting the tone for the evening.

The first piece of the concert was the Abhogi varnam Tanjam Endrale by Papanasam Sivan, an apt choice for the Mylapore stage being a composition on Kapalishwarar. It offered a bright start. Following the traditional concert structure, she rendered Mooladhara Moorthi in Hamsadhwani, a classic on Vinayaka. The rendition was good, marked by exceptional sangatis in the charanam. Her kalpana swarams were lively and ended with fitting poruthams that landed precisely on Gajamukha, drawing appreciative nods from the audience.

A change of mood came with a slower Valaji, presented with smaller phrases, gentle jaarus, and just a few fast akarams. Before beginning, Gayathri mentioned that she had found Valaji deeply therapeutic during her illness and hoped the audience would feel the same energy. She rendered Harikesanallur Muthiah Bhagavatar’s Jalandhara Supitasthe with grace. The niraval at Bhavaroga Nivarineem was moving, her voice carrying quiet strength and sensitivity. Mysore Srikanth’s keezh kala niraval on the violin stood out for its finesse. The swarams in Valaji were engaging and well-structured, culminating in a neatly woven korvai. It was a rendition that truly reached the heart, just as she had intended.

She then moved on to Mamava Pattabhirama in Manirangu. The contrast in the notes was immediately striking, perhaps even a bit unsettling for the first few minutes, but once the phrases settled, the rendition unfolded majestically.

A brisk Karpagambike in Bilahari followed, serving as a lively interlude before the main piece. Gayathri then embarked on an expansive Kharaharapriya, unfolding it gradually with all the classic prayogams. Mysore Srikanth’s response followed suit. Her raga choices through the concert - Abhogi, Manirangu, and Kharaharapriya were particularly interesting, with every alternate one being a janya of Kharaharapriya.

The main composition was the evergreen Chakkani Raja Margamu. Gayathri rendered it with perfect pacing, bringing out the grandeur of the kriti with beautiful sangatis, especially in the pallavi. The tani avartanam by Bharadwaj and Sunil Kumar was vibrant, the final mohra and korvai earning enthusiastic applause.

In a thoughtful gesture to mark the birthday of Mahakavi Subramania Bharati, Gayathri presented his composition Endaiyum thayum magizhndu. Her voice soared effortlessly in the higher octaves, making it easily one of the finest moments of the concert with well-timed pauses that enhanced the bhava of the piece.

While she concluded with the traditional Pavamana, just as the audience began to rise, Gayathri surprised everyone by singing the Mylapore favourite - Karpagame in Madhyamavati. The concert ended on that note - surprise, happiness and high spirits!