A Metaphysical Experience
By Artiste : Neyveli R. Santhanagopalan
When : 19 Dec 2013  | Time: 6:30 PM
Where : Tattvaloka
About the Event

- by Janaki Lakshman

Neyveli Santhanagopalan is an artist who can transform a concert to a meditative journey.If you are looking for a great musical experience which goes beyond voice, this is the place for you. His concert for Tapas Academy with Delhi Sunderarajan (Violin) S V Ramani (Mridangam) and Madipakkam Gopalakrishnan (Ganjira) as accompaniments proved once again that to create great music a robust voice is not necessarily the main ingredient. The Sangeetham emanates from within.

He began his recital with a Shlokam and went on to sing Sri Sankara Guruvaram in Nagaswarali, a composition on Adi Shankara by Maha vaidyanatha Sivan. Marugelara in Jayanthasree came next and a fantastic Aalaap in Begada saw the long forgotten Kadaikkann Vaithennai AaLammaa rendered so exquisitely. The Alapana was vintage stuff and the krithi by Neelakanta Sivan had some great moments, with the Neraval, and the line Gowri Raja Rajeswari sung at varying speeds, giving it a Pallavi status! His Swaram exercises were inspiring too, for this as well as the Nagaswarali where he did a lot of mathematical as well as aesthetic experiments with them. 

He has the practice of speaking during the concerts and he went on to prove a point with Dwaithamu Sukhama soul stirringly presented. Bhagawath Bhaktha Vara Agresarulalo was taken for Neraval. His singing sometimes becomes a Tapas... a meditation... a thesis... and a deep experience for the listener too, and often what can not be achieved with his strained voice is conveyed with his musicality within. This is his strength. Tatwameruga Tharama in Garuda Dhwani too amply proved this point. 

Thodi Aalaapana was with a lot of Swanubhavam. The glide through three octaves.... zigzagging with the notes.... not too eager to impress with craftsmanship or gimmicks... but so much of Sowkhyam and Vishranthi in the process! Ninne Nammi naanu by Shyama Shasthri is meditative and he did proper justice to the composition treating it with great reverence and care. A Neraval at Kamakshi Kanja Dalayathakshi and Swaram elaborations established his conviction in chaste Sangeetham. Permutations of threes fours and fives found their place in Kalpana Swaram and a mention about the accompanying artists here. They had complete understanding of the singer's style, limitations and strength. In perfect sync with the methodology of Sri Santhana Gopalan they gave their best to enhance and accentuate his pluses! Their playing reflected the Sowkhyam and delicate quality of the musician's sensibilities. The Thani was well played. A Virutham in Desh, followed by a pleasing Rama Namame Thudhi Maname by Tanjavur Shankara Iyer, and Kamala Nayana by Bhadrachalam Ramadasu in Chenjurutti, were the Thukkadas . Arabhimanam came as a pleasant surprise with the array of exquisite Ragams stringed together. A Thiruppugazh in Madyamavathi came as the cherry in the icing. On the whole an intellectually fulfilling concert!

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