Raga, rhythm and repertoire were in thoughtful alignment at Sriranjani Tapasya Santhanagopalan’s concert

The inaugural performance astatine the Thyaga Brahma Gana Sabha’s yearly Isai, Iyal, Nataka Vizha, featured Sriranjani Tapasya Santhanagopalan, who emphasised clarity and balance, allowing compositions to breathe. The accompanying musicians — Vittal Rangan (violin), Vijay Natesan (mridangam) and Chandrashekara Sharma (ghatam) — contributed with discernment.

Veenai Kuppaiyar’s ‘Intha chala’, a abbreviated Begada alapana, was taken up successful 2 kalams. The rendition was mostly steady, though mild enactment power issues surfaced during the chittaswaras. These moments, however, did not detract from the wide travel of the opening piece.

Swati Tirunal’s ‘Deva deva kalayamithe’, acceptable successful Mayamalavagowla, followed arsenic the 2nd piece. The niraval astatine ‘Jatarupa nibhacela janmarcita mamakhila’ allowed country for open-throated question successful the precocious sthayi. The determination to research the tara sthayi aboriginal successful the performance came crossed arsenic refreshing. Vittal Rangan mirrored these ideas with finesse connected the violin, starring into kalpanaswaras. Chandrasekara Sharma’s ghatam stood retired for its clarity and effectual usage of bass tones.

The performance past shifted to Yamuna Kalyani with Muthuswami Dikshitar’s ‘Nanda Gopala’, bringing a distinctly melodic turn. During the higher-octave sanchara astatine ‘Muralidhara’, the dependable acquired a sharper edge. However, the well-placed brigas added definition, enhancing the kriti’s wide impact. Mridangam’s extended usage of ghumkis enriched the rhythmic texture.

Tyagaraja’s ‘Sarasa Samadana’ successful Kapi Narayani followed, underscoring Rama’s bid implicit saama, daana, bheda and danda, the 4 principles of righteous governance. The mridangam accompanied the anupallavi, with the ghatam joining successful for the charanam, lending tonal contrast. Playful podi sangatis interspersed the kriti, portion the kalpanaswaras astatine the ‘Hitavu maata’ phrase, moved fluidly crossed each octaves.

The repertoire for the evening leaned mostly towards well-known compositions, a prime that proved effective. The sequencing was thoughtful and consistent, resulting successful a performance that remained accessible portion sustaining the audience’s engagement throughout.

The Kamboji alapana, which prefaced the main portion of the evening, bore a discernible stylistic imprint reminiscent of Neyveli Santhanagopalan. Marked by briga-laden passages, sustained agelong notes and an open-throated approach, the exposition traversed each 3 octaves with confidence, privileging amplitude and expanse implicit repose. This led to Tyagaraja’s ‘O Rangasayi’, with niraval taken astatine ‘Bhooloka Vaikuntam’.

The ensuing speech betwixt dependable and violin was notably playful. Vittal Rangan’s responses carried a lyrical easiness that blended seamlessly with the vocal line. Kalpanaswaras successful 2 kalams followed, portion the mridangam accompaniment stood retired for a abrupt and effectual displacement from sarvalaghu to thaka dhina thom patterns, which added a rhythmic opposition without disturbing the kriti’s emotive core. The rhythmic enactment remained measured and sensitive, complementing the raga’s gravitas.

The tani avartanam began with a crisp, astir assertive opening, arsenic though releasing restrained energy. The mridangist launched into brisk korvais, presenting a mini mohra-korvai wrong the archetypal circular itself, followed by neatly articulated patterns crossed 3 speeds. The ghatam, successful contrast, adopted a slower opening trajectory, gradually gathering towards well-shaped korvais. While the 2nd circular of mridangam leaned heavy connected solkattu-driven passages, the 3rd and 4th rounds regained balance, marked by effectual thoppi rolls, engaging one-handed playing, and a elemental yet distinctive one-handed changeable korvai to conclude. The decorativeness was aesthetically satisfying and well-measured, though the modulation backmost to the pallavi mightiness person benefited from a gentler rhythmic dovetailing.

Following the main item, the performance turned towards the lighter devotional conception with ‘Gopi gopala lala’, a Surdas bhajan acceptable successful Gamanasrama. The rendition featured insignificant variations successful the sequencing of lyrical phrases, handled unobtrusively. This was followed by a namavali, ‘Vanamali radha ramana’.

The penultimate conception comprised a acceptable of 3 viruthams, drafting from the Tiruppadhigam, Tiruvachagam and the Periya Puranam, each aligned to the respective ragas – Sahana, Amritavarshini and Khamas. This led to Papanasam Sivan’s ‘Idadu padham’ (Khamas), wherever the raga’s emotive contours were explored with restraint. The performance concluded with M.D. Ramanathan’s Kapi thillana, bringing the evening to a measured, rounded close.