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The archetypal time of Mudhra’s Chithirai Music Festival featured a performance by promising young vocalist Sai Vignesh, supported by Pappu Gyandev connected the violin and Melakkaveri Balaji connected the mridangam.
The festival’s nonsubjective is to beforehand Tamil compositions. Sai Vignesh, victor of respective euphony shows and contests, is besides known for performing astatine unrecorded retro movie euphony shows.
Blessed with a pleasant voice, his renditions transportation verve and clarity. He opened his performance with Papanasam Sivan’s ‘Karunai seivai’ successful Hamsadhwani, dedicated to Ganesha. The swara conception was little yet engaging. He took up Poorvikalyani for alapana, focusing mostly connected kaarvais alternatively than brigas. The raga is truthful versatile that it allows musicians to research its beauty. His prime of Sudhananda Bharati’s ‘Kaaranam kettu vaadi’ was a pleasant surprise. This kriti was fashionable successful the days of gramophone records due to the fact that of M.L. Vasanthakumari. The legendary vocalist’s alapana, kriti rendition, and kalpanaswaras connected ‘Poorana dayavulla’ stay unforgettable. Sai Vignesh’s rendition of the kriti was was enriched with well-knit swaras connected the pallavi.
The singer’s brisk ‘Mal maruga shanmuga’, successful Vasantha, served arsenic a prelude to the elaborate raga alapana of Sankarabharanam. A weighty raga, it demands ingenuity successful navigating its contours to bring distant its grandeur. helium vocalist demonstrated a steadfast grasp of the raga’s nuances. His portrayal gave him ample scope to beryllium his mettle. The upper-octave sancharas were cautiously chosen and unfolded without immoderate overshoots oregon vocal aerobics.
Here too, Sai Vignesh’s prime of Harikesanallur Muthiah Bhagavathar’s ‘Manadirkisaintha Manalan’ was a caller one, arsenic the portion is seldom fixed centre signifier connected classical euphony platforms.. Doing afloat justice, helium dwelt connected the enactment ‘Samarasa saravanan sarguna bodan’ for niraval and followed it with absorbing matrices of kalpanaswaras. The swara suite was pleasing with respective permutations and combinations landing connected ‘shadjam’. The richness of the kriti and Sai Vignesh’s rendition stood arsenic a grounds to his knowing of the values of Carnatic music.
Pappu Gnanadev’s violin enactment was balanced and his responses successful raga alapanas, niravals, and swara sallies matched the singer’s enthusiasm. Melakkaveri Balaji, known for bolstering the zeal of young vocalists, did the same. His ‘tani avaratanam’ was little but impressive.
The last conception featured fashionable songs specified arsenic ‘Eppo varuvaro’ successful Jhonpuri by Gopalakrishna Bharati, ‘Kaana vendamo’ successful Sriranjani by Papanasam Sivan, and Andal’s Tiruppavai ‘Chitranchirukaale’ successful Madhyamavati. This Tiruppavai was sung successful antithetic ragas earlier; but the verses acceptable beautifully into immoderate raga format — a testament to its poetic brilliance.
