Homage to Tyagaraja
S.SIVAKUMAR
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In their concerts, Sanjay Subramaniam and violinists, T.Rukmini and Amritha Murali, transported the listeners to the world of the bard, Saint Tyagaraja.
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Sincere: Sanjay Subramaniam
Rasikas brought themselves to believe that bliss could still be a reality as they listened to Sanjay Subramaniam and T. Rukmani (with Amritha Murali) on successive days at the Thyagaraja Sangeetha Vidwath Samajam, Mylapore. These were held as part o
f the celebrations in association with the Mahakumbabhishekam for the shrine of Saint Tyagaraja.
Much looked forward to and well-attended, Sanjay’s concerts are distinguished for their bold and innovative concepts combined with perfection.
The alapanas for Naganandini (Melam 30; ‘Sathaleni Dinamulu’), Thodi (‘Nee Daya Ravalegaka’) and Yadukula Khambhodi (‘Adhi Kaadhu’) spoke of wisdom and variety and each shone as a gem.
T. Rukmini
The Thodi swaraprastharam culminated in a long korvai (acknowledged as N.Ramani’s). The concert as a homage to Tyagaraja had ‘Yochana’ (Durbar), ‘Rama Ninnu’ (Mohanam), ‘Nepogadakunte’ (sung in Varali), ‘Neeke Theliyaka Pothe’ (Anandha Bhairavi), ‘Vandanamu’ (Sahana), ‘Sagarundu’ and ‘Ramachandra Nee’ (Surutti).
Nagai Muralidharan’s (violin) alapanas and array of swaras had an element of originality that ideally matched Sanjay’s manodharma. Guruvayur Dorai (mridangam) and Neyveli Venkatesh (ganjira) accompanied with a sense of enjoyment and appreciation and gave a thani of substance with fine examples of educative combinations.
Amritha Murali.
Lively duo
T. Rukmini’s mastery on the violin showed the enormity of exposure she has had over the years. The ragas and songs were all sketches of beauty with the accent on bhava. The alapanas had new phrases and the requirements of niraval and swaras were fulfilled with the kritis being played at the right vilambakala. Even as the Tyagaraja kritis, ‘Bagayyanayya’ (Chandrajyothi), ‘Paramaathmudu’ (Vagadeeswari), ‘Entha Muddho’ (Bindumalini), ‘Orajupu’ (Kannadagowlai) and ‘Kadhanuvariki’ (Thodi), began one got instantly transported to the world of the bard.
Amritha Murali served as an admirable foil to Rukmani. Her alapana for Kalyani (‘Nidhi Chala’) had delectable smooth phrases. Rukmini then gave a Thodi, full of quiet grandeur. Two surprise inclusions were ‘Bharo Krishnaiah’ and a Thillana.
Satishkumar (mridangam) and Karthik (ghatam) played with great understanding, taking care to enhance the value of the kritis. Their thani had excellent laya bouts.
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