With collaborations and thematic shows more and more shaping the Carnatic live performance scene, musicians are steadily transferring past conference in pursuit of novelty and inventive synergy. Vocalists Vidya Kalyanaraman and Brindha Manickavasakan are amongst those that exemplify this evolving development. The two joined forces to current a soulful recital of unique Syama Sastri kritis for Madhuradhwani at Arkay Convention Center.
Such ventures, although, entail their very own challenges, like reconciling patantaram variations, managing sruti alignment, sharing of musical house between co-leads and making certain seamless melodic circulate. It is to the duo’s credit score that it succeeded in navigating these with aplomb, ably supported by Madan Mohan (violin), Poongulam Subramanian (mridangam) and Sai Subramaniam (morsing).
Syama Sastri, the quintessential Devi upasaka, infused his kritis with musical gravitas and lyrical candour. It is believed that he deviated from his central devotional focus (the goddess) solely on two events: one in reward of Kanchi Varadaraja (‘Samini rammanave’ in Anandabhairavi) and the opposite for Muthukumara Swami of Vaidheeswaran Kovil (‘Sami ninne nammiti’ in Begada). Typically set in chowka kaalam (gradual tempo), his compositions eschew summary philosophical overtures and exude meditative depth, with heartfelt supplications to the divine mom.
Sprightly rendition
It made musical sense that Vidya and Brindha started with a varnam, given the composer’s languid tempo in kritis. A vivid ‘Dayanidhe’ in Begada set the tone, lifted additional by sprightly kalpanaswaras. With ‘Brovavamma’ in Maanji, the artistes tapped into the composer’s anguish and soulful plea for succour. The layers of sangatis, sung within the unhurried cadence of Misra Chapu, supplied an immersive expertise.
Kalyani was the primary raga taken up for elaboration, with Brindha setting the stage with a measured delineation that tracked its traditional contours earlier than hovering easily into the tara sthayi. Vidya adopted go well with, her traversal of the higher octave dotted with delicate phrases. Madan’s reflective response on the violin embraced the raga’s grandeur with restraint. ‘Himadrisuthe pahimaam’ in Rupakam was a preferred alternative, and the niraval and swara exchanges at ‘Syamakrishna sodhari gowri’ within the charanam underscored the ensemble’s spirited engagement.
The rendition of the Yadukulakamboji swarajathi — a crown jewel in Sastri’s oeuvre — was dignified in tempo and emotive in attraction. Mridangist Subramanian’s deftness in gap-filling was properly complemented by Sai Subramaniam’s crisp plucks on the morsing. The briskness of ‘Triloka maatha’ in Paras reduce by way of like a flash of lightning within the calm of a moonlit sky.
Vidya Kalyanaraman and Brindha Manickavasakam accompanied by Madan Mohan (violin), Poongulam Subramanian (mridangam) and Sai Subramaniam (morsing).
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VELANKANNI RAJ B
Meditative Thodi
Thodi featured because the mainstay of the night. Vidya initiated the alapana with an introspective tone, and Brindha expanded it with finesse, each balancing creativeness and restraint. They additionally did properly to keep rooted within the raga’s meditative spirit so very important to Sastri’s compositions, not getting carried away by Thodi’s regal sweep and expansive scope. Madan replied with tonal purity and melodic sweetness. There have been no surprises when it comes to decisions of kritis till then, and a uncommon one was due. As if on cue, the duo obliged with the rendition of ‘Emani migula varnintu’, imbued with bhava and visranti. The duo skipped the niraval, however the swara sequence within the keezh kaalam was notably hanging.
The tani avartanam noticed Subramanian weave a rhythmic tapestry with a mix of supple touches and daring strokes on the mridangam, whereas Sai Subramaniam added vitality to the percussive dialogue by way of his animated interaction on the morsing.
‘Kanakasaila viharini’ in Punnagavarali, one other ode to Kamakshi by the composer, was rendered evocatively, earlier than the recital wound up with ‘Bruhannayaki’ in Madhyamavati.
Published – June 02, 2025 06:35 pm IST
