A structured balance marked Akshay Padmanabhan’s concert

The laudable aspects of Akshay Padmanabhan’s performance for Sri Parthasarathy Swami Sabha were his voice, prime of kritis and however helium structured a well-balanced concert.

Akshay opened his recital with Lalgudi Jayaraman’s varnam successful Nalinakanti and signed disconnected with Lalgudi’s tillana successful Khamas. Muthuswami Dikshitar’s ‘Sri varalakshmi’ successful Sri ragam followed.

After a little delineation of Bilahari, Akshaya presented Tyagaraja’s fashionable ‘Paritana michchithe’. He opted for a little niraval connected ‘Rokkami chutakula’ and added a fewer rounds of swaras connected the pallavi.

Raga Mukhari was taken up for detailing. It was a bully exercise, but a fewer much sections of reposeful phrases would person lent an edge. He chose Tyagaraja’s ‘Muripemu galigegada’, and did justness to some the raga representation and the sublime emotion of the kriti. ‘Ituleni malayamarutamuche’ turned retired to beryllium his prime for niraval arsenic good arsenic swaraprastara. After a fewer brisk rounds, the panchamam-centric swaras added other lustre to the rendition.

The interlude was ‘Renukadevi samrakshitoham’, a uncommon creation by Muthuswami Dikshitar successful raga Kannada Bangala.

His prime of the main raga was Thodi, which provides immense scope for a instrumentalist to research and improvise. Akshay unhurriedly ventured into the raga effort and highlighted each nuance of the raga. The chosen kriti was Dikshitar’s ‘Sri Krishnam bhaja manasa satatam’. Paucity of clip made Akshay spell consecutive for the swara conception connected ‘Pankajaasanaadi devamahitam’.

VSP Gayatri Sivani connected the violin followed the vocalist with cleanable synchrony. Her raga and swara responses were measured and matured. Ajay Gopi connected the mridangam and Sathya Ganesh connected the ghatam came up with enjoyable exchanges successful the tani.