Nayanadali Dore iralu :

Kedar or from another perspective, yamani-bilawal (atleast I think so and I haven't always been correct :) ). But all raagas can be flung by the wayside as the immensely mesmeric tune, tastefully placed and played Shehnai pieces and the songstress' interpretation and portrayal of the tune summons forth the beauty of listening to the tune flowing through both Ma1 and Ma2 and ofcourse the tender class of adorned bashful romance !!! We have all heard singers with clinical precision which is as ruthlessly incisive as a surgeon's scalpel !!!! But what do we have here ?!!!?

PS has this supremely compelling way of bringing through an inaudible hesitancy, almost bordering on reticence while exuding womanly shyness. The rendition of the first line of the pallavi "nayanadale horeyiralu" ushers in this mood into my system and ......how more womanly and feminine can you ever get !!! Yes, I am referring to the end of the pallavi "yAra kELalI" which ends with that string of gamaks delivered almost as an afterthought. The hint of hesitancy at the almost hushed "yArA" is what I was going ga-ga over previously...she is making a point with that womanly bashfulness. And how could I skip past "yadurinali neenirelu" with that the subtle insistence, that would have been awfully insensitive :) !!!!

The womanliness sheds all the extra fat around bashfulness in the charanams and displays its various hues by starting on a "statement making" tone, followed by persuasiveness, tailed by a wee bit more forceful persuasiveness and that is when arrives the delicious negotiating phrase, the phrase that ties lose ends and ends the melody block called charanam. The composer winds back to "Sa" and traces the "Sa Ma1 Ga3" lip smacking jagged path to the glorious closure with a three tiered gamak executed with aesthetic appeal of the paradise kind !!! Most heartening !!!! Amidst all these technicalities let us not forget to recall and savor the penultimate line of the charanam that ends with "nAnE hogalE (????)" ....Susheelaji how many different ways do you have to drive a point home...within the precints of shyness :) !!!

The point I wish to drive home is that despite all the technicalities , akarams and sangathis what the songstress leaves us with is the glorious collective mood created by her singing and that is only because those very technicalities were handled with immense ease and as a part of her breathing process :) Complete absence of strife....and also because those sangathis aligned themselves to the sentiment portrayed 

PS' choice of dabbing the tune with softness is clearly vindicated otherwise we wouldnt be swooning, would we ? ;) Yes, softness and even while scaling up in the charanams, she goes the "falsetto" way and yet retains , volume , body and balance to the levels of evoking enviousness amongst others !!!! Touche` Susheelaji !!!!