Sign-up for Newsletter

Music > Review
Niranjana Srinivasan's Concert
05 December, 2019

Niranjana’s strength on display

NIranjana Srinivasan by choosing the raga Atana for delineation during the initial phase of her concert probably did the right thing as this turned out to be ideal for her voice. And the song was the ever popular Balakanakamaya (song - ElaNee Dhayaraadhu- ஏலா நீ தயராது) of Thyagaraja.  There were many of those strident phrases and typical prayogas showing the forceful nature of this ragas one face. Kandadevi Vijayaraghavan contrarily gave a sedate interpretation of this raga mixing it with softness and sweetness. That for you is the scope carnatic music offers for those who are instantly inspired.

Following this Niranjana started from the anupallavi Kandrin Kuralaikettu (கன்றின் குரலைக் கேட்டு -- and what an effect it has always had!) for Neelakanta Sivan’s song in Mukhari, Endraiku Sivakrupai Varumo (என்றைக்கு சிவக்ருபை வருமோ). It had those gentle nuances that highlighted the bhava aspect of the lyrics. A fast-paced Anadhudanu Kaadhu in Jingala, an ekaika krithi of Thyagaraja, came to enliven the mood. Kalyani occupied the main slot of the evening. The raga alapana had its multifarious possibilities exploited to the fullest extent that had its proportion of the sprightly, the quiet, the briga laden and the zarus. The song was again the on-your-lips-now Ethavunara, where the composer searches and therefore asks where at all he can find his IshtaDeivam (இஷ்டதெய்வம்) suggesting all possible locations. The violinist gave an interpretation of the raga that matched that of Niranjana and drew spontaneous appreciation from her.

Niranjana rounded of her cutcheri with Bharathidasan’s Thunbam Nergayil (துன்பம் நேர்கையில்). The story goes that the tunesmith for this song, M M Dandapani Desigar was not greatly satisfied with the original tune (in Atana), waited for quite a while before the present raga Desh dawned on him.

It is known and well-established that Nirnjana is after Nithyasri in all-styles. But it is another thing that even her mannerisms follow suit. She has admittedly acquired one positive gift from Nithyasri.  Irrespective of the position from which her voice reaches the mic, it always maintains and is heard at the same level.

T R S Manikandan on the mridangam and Hariharan on the Ghatam realized the limited duration offered to them in the thani slot and after sharing a few one-to-one exchanges gave a compact avarthanam. Their accompaniment for the songs passed muster.

This concert was held at Bharatiya Vidya Bhavan, Main Hall at 3.30 p.m. on 5th December, 2019.

s.sivakumar

About Sabhash - Everything about classical music, dance, drama and a platform for inclusive entertainment

Sabhash.com is the one-stop destination for the latest news and information on the performing arts of India - classical music and dance, theatre, bhajans, discourses, folk performances, and other lesser known art forms. Institutions that revolve around the performing arts have exploded in numbers, and thanks to the Internet which has made information easily accessible, the number of rasikas has grown too. Corporate patronage has played a big part in increasing the world-wide reach of the Indian arts. Sabhash wishes to be a platform for inclusive growth giving an equal opportunity and recognition to not only the main performer but also the artistes who accompany them on stage, and the people who work backstage and play the role of unsung heroes.