The superabundance of music in the past few weeks raises questions relating to widening of musical horizons of rasikas, culminating in improved perceptions of ragas, depth of kritis, besides pallavis.

There were some really perceptive events which sharpened the insights of at least those who were interested. The vocal recital of Vijayalakshmy Subramaniam for Narada Gana Sabha was one such.

It had the high merit of reflection, at least partially, advances in artistic sensitivity, raga Delineation and kriti interpretation.

After Mooladhara (hamsadwani) on Lord Ganesh, her recital straightaway took off to touch the heights of Neelayadakshi(paras; Syama Sastry).

Next abohi raga was sketched beautifully in both the Madhya and thara sthayis, leading up to Dikshitar's fine creation Sri Lakshmi Varaham.

Raiskas could feel the thrill of the Fine sahitya -raga-bhava fusion, based on beautifully presented raga shadings through a Melodic medium. There were some decisive moments of revelation in the alapana of kalyani that followed.

It had depth, pearly coating of bhava and architecture to make it really a tune - fest. The Thyagaraja krithi Enduko Neemanasu was sung by Vijayalakshmi in such a tuneful, melodic and sumptious manner.

-KS Mahadevan.

Monday, December 22, 1997 The Indian Express, Chennai.

MARGAZHI FEAST

Vijayalakhmy Subramaniam began her concert at the Naradha Gana Sabha with Meera Sivaramakrishnan on the Violin and Karaikudi Jayaraman on the mridangam a little Tentatively . It was not until she was into the third piece that she relaxed and sang without inhibition.

She made judicious use of her voice with a natural sruti that scaled the higher pitches with ease, but sounded shrill because of the less than asdequate sound system.

The "Nee mudomo"in Kamalamonohari made up for the dragging alapana in Mohanam,and the cautiously rendered Dhavalambari (49th Melakarta raga) was almost flawless in its presentations. The contiguity of the four swaras Pratimadhyama, Panchamam, suddha-Dhaivatnam and suddha-Nishadam posed a challenge to fast akara-sancharas in Arohana as well as Avarohana.

Niraval and swara were gracefully executed and the tingling Brigas dotted Kharaharapriya alapana . The introduction of "Rama neejada" was a refreshing break for the listeners from the predictable "Chakkaniraja" and the niraval swara at "Namaruchi telusuna" was spontaneous.

GNB's "Ranjani niranjani " was an excellent piece to interpose between this and the Succeeding Bhakti item. To one in whose ears the voice of veterans still rings, a Slightly faster pace for this would have been more satisfying.

"Turakuna" was marked by dedication and surrender and the sloga "Pasyanti" of Vedanta Desikars sung in Vrittan (Saveri, Behag) and terminating in "Kalpakambikai nee allavo" of Sivan rounded off
The concert.

With her slightly withdrawn participation in the concert Meera did not appear to be in form. The only perceptible dialogue she entered into was with Karaikudi Jayaram in her Kalapana swaras in "Rama neeyada" .

The Hindu, Friday, Dec 1997 .

An exception

High-pitched voice may invariably result in scratches as the recital goes on but Vijayalakshmy Subramaniam proved one of the exception. Right through her vocal display, the singing was perfectly refreshing, and with ease and perfection she could travese effortlessly. The Anandha Bhairavi piece of " Neeke Theliyaka" was palatable and was followed by an ornate Mohana with some of the phrases resembling exotic style.

The song "Kadambari " with flashy swaras revealed her intense training. The triumph in her painstaking Karaharapriya with "Rama Neeyada", "Nee Muddumomu" (kamala monohari) and a Tamil Song in the unfamiliar Davalambari lent further sweetness to the concert marked by grandeur. Meera Sivaramakrishnan on Violin and Karaikudi Jayaraman on mridangam were the accompanists.

- PS Krishnamurti