The curtain raiser of Vasudha Keshav's concert at Madipakkam was a Varnam in Sahana - Karunimpa.

After a succinct sketch of Sahana, she plunged into the Varnam. The following piece was an invocation to Lord Ganesha and she rendered a song Thathvamarita Tharama in the raga Reethigowlai by Papanasam Sivan. Her exposition of the song had effortless sancharas.



Vasudha's rendition of Anupama Gunamuthe in the vibrant Atana penned by Thyagaraja was pulsating. Her clear articulation of Sahityas was discernible in Maamava Raghu Rama in Saranga. Her delineation of the raga was powerful and evocative. She developed the raga in all its magnificence. The cascade of Swaras were replete with classicism.

The piece de resistance was Pahijaga Janani in the raga Vachaspathi. To elaborate a rare raga like Vachaspathi needs rigorous practice and Vasudha's sadhakam stood her in good stead when she brought out the contours of the raga. Her Niraval -Mohana encapsulated the essence of the raga. The sprightly Kalpana Swaras was the high point of the concert.ad the matrices took the rasikas on a delightful musical journey.

She brought out the devotional fervor in the famous Kurai Onrum Illai by Rajaji .

Mysore H N Bhaskar on the violin played with unbridled enthusiasm.

Mannargudi Subramaniyam on mridangam, had a strong melodic force while Trichy Murali on ghatam scaled musical heights with his humble pot. Their Tani avarthanam was anchored in grammar and incorporated exquisite rhythmic patterns.

Mira