Restraint is the hallmark of refinement, it’s mentioned. N. Vijay Siva’s current live performance for Bharat Sangeet Utsav 2024, introduced by Carnatica and Sri Parthasarathy Swami Sabha, stood as a testomony to this. There have been no frills and fancies because the seasoned vocalist treaded the time-tested fairway in his ‘Sampradaya Kutchery’ at Narada Gana Sabha Most important Corridor, within the firm of L. Ramakrishnan (violin), N.C. Bharadwaj (mridangam) and S. Sunil Kumara (kanjira), along with his disciple Sanjay Swaminathan lending vocal assist.
Vijay Siva’s pure fashion, embodying the very essence of custom, was ideally suited to the theme of the night, and he won’t have wanted to pressure a sinew for this task.
His opening piece, Syama Sastri’s ‘Neelayatakshi’ in Paras (Tisra Triputa), supplied a solemn and reverential tone to the proceedings. Vijay Siva then took up the sangathi-laden ‘Saketha nagaranatha’ of Mysore Sadasiva Rao in Harikambhoji, set to Rupakam. The opening phrase of the charanam, ‘Raajita amara pala’, is a catchy choice for niraval and kalpanaswaras, which Vijay Siva explored to the hilt .
The live performance gained additional momentum with a vibrant Lathangi alapana previous Patnam Subramanya Iyer’s ‘Aparadhamulanniyu,’ enriched with a niraval on the charanam line, ‘Vega nannubrovumani.’ Right here, Vijay Siva’s rendition, shimmering with depth, but tempered with simply the precise tempo, was totally enchanting.
The singer believes within the Carnatic music sampradaya
| Photograph Credit score:
M. SRINATH
Bhairavi and Sankarabharanam, unfurled as the principle flavours of the recital, have been explored by way of Narayana Thirthar’s Tarangam ‘Govinda ghataya’ and Tyagaraja’s ‘Manasu swaadheenamaina’ respectively. In between, an evocative rendition of the virutham ‘Panippagai mayilum’ from Thiruchendhil Kalambagam in Vasantha, adopted by Papanasam Sivan’s composition on Muruga ‘Maa dayai nidhiyenum’ in the identical raga, and the chittaswaram, added splendour aplenty.
Vijay Siva was at his attribute greatest as he conjured the aura of Bhairavi , meticulously unravelling the raga’s old-world attraction. Ramakrishnan, in his response, coaxed the bow and strings to telling impact to create a pleasant melody . The Tarangam, then, swayed to the gait of Khanda Chapu earlier than arriving at breathtaking swara exchanges at ‘Saradindu sama vadana’ wherein Ramakrishnan, Bharadwaj and Sunil Kumar partnered with the singer for a rewarding three way partnership.
The majesty of Sankarabharanam unfolded because the grasp and pupil took turns within the higher octave to journey a wave of crescendo earlier than effecting a quiet retreat into the mandhra sthayi. Ramakrishnan was once more in his aspect, developing with an identical alapana. After a medical rendition of the kriti ‘Manasu swaadheenamaina’, Vijay Siva launched into a niraval at first of anupallavi ‘Tanuvu taanu gaadani’, earlier than indulging in a kalpanaswara cascade. Bharadwaj and Sunil Kumar displayed their rhythmic prowess all through with an uncanny chemistry even whereas embellishing the live performance. Readability and power marked their absorbing tani avartanam in Misra Chapu.
Sanjay Swaminathan did a creditable job by complementing his guru within the alternatives he bought within the manodharma segments.
There was a perfect steadiness and selection in music choice when it comes to tala and language in a live performance whereby no composer was featured greater than as soon as. The ultimate part of the recital included ‘Ehi annapurne’ in Punnagavarali, a thillana in Kadhanakuthuhalam and a Thiruppugazh in Asaveri, each including to the enchantment of the live performance.
Printed – November 17, 2024 07:01 pm IST