Some compositions are so awe-striking they go away an indelible imprint on the thoughts. One such masterpiece is Lalgudi G. Jayaraman’s ‘Angayarkanni’, a Navarasa Varnam that portrays 9 feelings, akin to these talked about in the Natya Shastra, in as many ragas. Primarily designed for dance recitals, its beautiful lyrics, acceptable ragas and the seamless fusion with rhythmic cadences (poruthams, the composer’s insignia) mix to make it a catchy opening selection in Carnatic live shows as effectively.
Akshay Padmanabhan, in his thematic recital ‘Thaaye Dayapari’ at Bharatiya Vidya Bhavan’s Tamizh Isai Vizha, opened with this varnam. It celebrates Goddess Meenakshi’s responses to Shiva’s Thiruvilaiyadalgal (divine play-acts) and extols her personal virtues. The 9 ragas and the corresponding sentiments are Bilahari: Anandam (happiness), Husseni: Sringaram (love), Valaji: Adbhutam (wonderment), Saranga: Hasyam (laughter), Sucharitra: Bheebatsam (disgust), Atana: Roudram (anger), Rasikapriya: Bhayanakam (concern), Sahana: Karunyam (compassion), and Nadanamakriya: Santham (peace).
Never a uninteresting second
Maintaining the momentum, Akshay offered a short alapana of Jaganmohini segueing into Gopalakrishna Bharati’s ‘Sivakamasundari’ in Rupakam. The music, predominantly set in madhyama kala, is apt for kalpanaswaras, and the vocalist made account of himself, rendering the identical at the pallavi opening. Papanasam Sivan’s seldom-heard ‘Vaani arul purivaay’ in Dhanyasi was sung subsequent. The pleasing chittaswaram enhanced the enchantment of the music that seeks the blessings of Saraswati.
When Akshay took up Begada, his voice had settled into a greater area, offering a sophisticated sheen to the raga rendition. Expectedly, he sang ‘Kadaikkan vaithu’ by Ramaswami Sivan in Misra Chapu. The niraval and swara passages at the charanam line ‘Santatam pugazhndu’ had been partaking as the accompanists M. Vijay (violin), B. Sivaraman (mridangam) and Ok.R. Sivaramakrishna (kanjira) complemented Akshay effectively.
The in style ‘Thaaye tripurasundari’ (Suddha Saveri-Khanda Chapu) by Periyasami Thooran was rendered with zest. The lengthy and iconic chittaswaram served as excellent flourish to the ode devoted to the goddess of Thiruvanmiyur.
Graceful Bhairavi
The principal variety of the night was Papanasam Sivan’s ‘Thaaye Bhairaviye’, and Akshay reserved his greatest for it. He unfolded Bhairavi with measured grace, using the gamakas with precision, and vividly introduced out the devotional fervour of the music. The niraval and swarakalpana exchanges had been well-articulated.
Akshay added color to the live performance with one other ragamalika. ‘Nee thaan thunai neelambari’, composed by N.S. Chidambaram, has been set in eight ragas whose names denote the varied types of Devi — Nilambari, Vasanthabhairavi, Gowrimanohari, Saraswati, Sriranjani, Mohanakalyani, Durga and Jyotiswarupini. The live performance concluded with Subramania Bharati’s ‘Thedi unai saran adaindhen’ in Sindhubhairavi.
Akshay’s ally is his crystalline voice. At house in the center and decrease octaves, it, nonetheless, tends to be much less pliable when hitting the excessive notes. His skirmishes with sruthi early on in the live performance had been a little bit of a dampener.
Vijay exuded confidence and sparkled in all his raga alapanas, Bhairavi being significantly chic. Sivaraman and Sivaramakrishna performed out a sedate however refined tani, and displayed good anticipation general.
It would have been superb and full if a music or two on Lakshmi had been included since the theme interprets to ‘O, Mother Compassionate!’. However, one on Saraswati rightly made it to the checklist.
Published – March 05, 2025 06:54 pm IST
