Girija Devi at the ITC SRA concert

Inaugurated by tabla maestro Kishan Maharaj, the ITC SRA Presentation, featuring young talents from the Sangeet Research Academy (SRA), was held at GD Birla Sabhagar on July 15 and July 16. Each evening closed with a performance by a guru of the academy.

Pandit Ulhas Kashalkar, accompanied by Ananda Gopal Bandopadhyay (tabla), sang a seldom-heard Shuddha Nat on the inaugural day. The masterly recital inspired Vidushi Girija Devi, supported by Samar Saha’s tabla, to present a rare thumri composition in the same raga the next evening. She began with a khayal rendition in Surdasi Malhar and later, among other kajris, she sang her favourite, Kahanwa mano ho Radharani, an adaptation of Diljani by eminent Hindi litterateur Bharatendu Harishchndra. Harmonium virtuoso Jyoti Goho accompanied both the gurus.

The overcrowded itinerary spared only half-an-hour each for eight young musicians to prove their mettle. The peaceful and emotive countenance of debutant Sameehan Kashalkar made his vocal recital gripping. The deliberate glide from the tonic to the ni of the lower octave touching the Ni on its way and the oscillating ga etched the mood of Miyan Malhar with its typical movements.

Abir Hussain’s sarod literally sang Badarwa barsan ko in Surdasi Malhar weaving echo-like phrases in layakari. Sandep Bhattacharya impressed with his deep melodic voice and mature badhat, sargam and fast vowel taans in Bihag.

Ruchira Kale, probably the most experienced of the lot, possesses a mellifluous voice and a good range. She decked up her Gaud Malhar with intricate taans.

Nilanjana Roy proved to be another brilliant vocalist with an impressive taiyari and a capability to handle different varieties of taans. She sang Kamod.

In comparison, Sumana Gupta was uncomplicated in her approach and her malleability was touching in a neatly presented Shyam Kalyan adorned with imaginative variants of the mukhda of the composition and well executed tihais.

Supratik Sengupta, despite having enjoyed a lot of exposure as a professional, presented a rather arduous Megh on the sitar showing more eagerness for the splendour than for the mood of the raga that demanded gliding movements.

Shuddha Kalyan, another heavy raga, was sung by Sucheta Ganguly.