Vidya Kalyanaraman’s concert showcased that youthful enthusiasm can co-exist with time-tested values

The emergence of talents like Vidya Kalyanaraman augurs good for the show country of the adjacent generation. It is simply a treble delight that she embraces the time-tested philharmonic values, arsenic was evidenced successful her concert.

‘Gajavadana karuna sadana’ in Sriranjani was sprightly successful a brisk kalapramana with a volley of sangathis. Sriranjani kritis are seldom sung without some swaras and Vidya did not change that. The alapana of Varali was sedate and delivered with ease, but the absorption seemed to beryllium connected stringing each acquainted phrases. Alapanas are meant to incorporated immoderate ‘aha’ moments, which Vidya will travel to realise.

‘Seshachala nayakam’ had each the tenets of classicism that the maestro creation demands and Vidya’s niraval at ‘Aravinda padma nayanam’ was engaging, particularly successful higher octaves.

Violinist B. Ananthakrishnan raised his crippled during this signifier with pleasing articulation and raga bhava. A portion with a somewhat elaborate alapana and niraval could spell without the mandatory swaras but the impulse to sing them seems palpable these days.

Vidya affirmed her primacy for the Trinity with ‘Marivere gati’ (Syama Sastri, Ananda Bhairavi, Misra Chapu) and ‘Naada loludai’ (Tyagaraja, Kalyana Vasantham, Adi). The second had immoderate sprightly swara passages, mostly adhering to raga lakshana without the drum-beat effects. Such preferences underline a musician’s halfway choices.

Mohanam was Vidya’s mainstay astatine the concert. While she had been a spot tentative until this point, the raga sketches were calm, enjoyable and had a bully progression. Roller-coaster sangathis were kept successful proportion. The raga has an inherent attraction and the musician’s relation is conscionable to sojourn the peaks and valleys without heroism, as Vidya demonstrated. Ananthakrishnan’s response had akin fundamentals.

‘Kapali’ of Papanasam Sivan is a colossal kriti in Mohanam, laced with vivid portrayal of the Lord and respective tempo combinations. Vidya’s patantara is bully and bereft of unpolished flights. There were a ton of swaras at the end, including a kuraippu and korvais, with ga, pa, sa, ri, ga as the overarching theme. The full piece, engaging arsenic it was, robbed Vidya of invaluable clip for immoderate pensive pieces astatine the end.

‘Krishna nee begane baro’ (Yamuna Kalyani) was soulfully rendered as Vidya’s soft dependable lends itself to specified pieces. Papanasam Kumar and H. Prasanna (ghatam) supported the multi-tala programme with bully anticipation of the sangathis.

The two-hour performance featured lone one niraval and four swaras. That underscores the tilt successful the equilibrium distant from spontaneous look to an audience-friendly fare of orchestrated swaras and more swaras, adjacent by artistes with a classical bent. If you instrumentality distant the swara segments, galore concerts whitethorn shrink to a half.