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This to me is not a demonstration of different bhavams in the same ragam as much as it's a demonstration that different speeds are conducive to different emotions; it's not as much a change in mukhari as it is in the talam, her hand movements, and facial expressions.

@earnestdoc I understand why it could sound like Sindhu Bhairavi, but the third viruttam is definitely Jonpuri.One telling clue is that no rendition of Sindhu Bhairavi is ever complete without the lower rishabham (R1), and Gayatri only ever sings R2 in the third viruttam.

@shreekrishna1729 I don't think it's "modern" to treat songs like sambar, as you put it. E.g., Semmangudi was known for completely changing kritis. Such changes have been happening since DIkSitar's time--that's why we have so many paThaantaras! Part of this music is this kind of change. I certain...

@NickAlgore loll

@hellocarnatic Somehow I missed your comment! I agree that with Bharavi/Manji, good singers mark the diff. However, would you say that Semmangudi's frequent use of MG3R2-trademark karaharapriya-in Bhairavi should be avoided? Yes, you can't go around changing ragas as you please. But my point is ...

@FascistFashion I think it's Ramana Maharshi. Pattammal believed she was able to sing because when she was a baby, Ramana Maharshi had put two drops of honey in her throat.

The first ragam I think is darbAri kAnaDA

Thanks for the prompt post! Really appreciate it. I believe the second ragam is yadukula kambhoji; although you're right, the first prayogam he sings in the transition does sound like sahana.

I don't think Jayashri gives this masterpiece of Dikshitar the weight it deserves; I would like to have heard more azhuttam.