Lathangi occupied the middle slot of Padma Sugavanam’s concert. The expansive elucidation of the raga was full of life, especially while hovering over the upper octave. The long jantai prayoga and karvai displayed her understanding of the raga’s contours.
The pleasing tonal quality and consistent volume of Padma’s voice added energy to her singing.
Shreya Devnath on the violin presented an equally pleasant Lathangi, infusing more charm to the alapana. The composition was Koteeswara Iyer’s ‘Kaikooda Venume Kandha’ in Khanda Chapu rendered with madhyamakala swaras.
The splendid weave of swaras by Shreya complemented the dynamism with which the main piece was presented.
Padma opened the concert with the Gambhira Nattai composition, ‘Sri Jalandharam’ of Jayachamaraja Wodeyar. After a short sketch of the raga, an enjoyable Darbar kriti ‘Narada Guruswami’ of Tyagaraja came in a slow tempo.
The concert had an interesting line-up of kritis that are not often heard on the dais.
B. Ganapathyraman on the mridangam was both soft and eloquent at relevant places. He shared an excellent thani with H. Sivaramakrishnan on the ghatam. Both the percussionists added depth during the kalpanaswara segments.
A comforting rendition of Arunagirinathar’s Thirupugazh, ‘Sivanaar manam kulira’ in Jonpuri provided a perfect finale.