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Tamil took centre stage again

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Sanjay Subrahmanyan picked some uncommon compositions for his annual Tamizhum Naanum live performance

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True to the excitement main as much as Sanjay Subrahmanyan’s Tamizhum Naanum live performance, digital listeners thronged to savour the third version of his widespread format — a full live performance in Tamil. He has advocated bringing the language to the forefront of Carnatic concert events and it was a message properly delivered. The spotlight of the live performance was one in all two tukkada segments, partitioned by a Ragam Tanam Pallavi. Within the developed scheme of digital life, there was additionally a ‘strategic time-out’ for the sponsors to make an look!

The live performance dropped at gentle some not often heard however sterling items by T.M. Thiagarajan, Papanasam Sivan and Arunachala Kavi. TMT’s Kalyana Vasantham varnam on Lord Ganesha presents apt phrases for the raga. ‘Kalaimagale’ by M.M. Dandapani Desikar in Saraswathi had a number of sangathis and leaned in the direction of a devotional type. That may truly be stated of many Tamil kritis, which has been supplied as a defence within the final century for not together with them as a part of a live performance’s major section. Their musical rigour in opposition to the monumental Trinity compositions was (and is) in query. A number of singers like Sanjay are difficult that premise.

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Koteeswara Iyer’s Gayakapriya kriti, ‘Naadanilai’ is a masterly composition in a raga with a number of difficult boundaries. Sanjay’s rendition echoed that creativity properly. He sang a lovely Bahudari alapana and adopted it up with Arunachala Kavi’s ‘Ramasamiyin dhoothan naanada’, singing it with gusto slightly than tranquility. .

A Hindustani RTP

Sanjay’s selection of Patdeep, a Hindustani raga, for the RTP was attention-grabbing. The audava-sampoorna raga follows the Gowri Manohari scale with rishabham and daivatham lacking in arohanam and is a well-liked selection for movie songs. Whereas Sanjay’s tanam evoked pleasing moments, Varadarajan’s alapana sketched the fantastic thing about the raga succinctly. The kanta ekam pallavi, spanning all speeds, set on Subramania Bharati’s far-sighted phrases on ladies’s empowerment, was sung in quintessential Sanjay type, with verve and assuredness. The singer meshed properly together with his long-term accompanists, they usually delivered some pleasant punches. Varadarajan and Neyveli Venkatesh are masters in intelligent however subdued help. Sanjay’s voice was full of life and malleable, traversing the peaks and troughs fluently.

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The second section featured a kriti ‘Narayana’ in Komalangi (Raghava Ramanuja Dasan), a brief viruttam that introduced again shades of Okay.B. Sundarambal’s Saveri in an epochal movie track, a Kapi kriti of Ramalinga Adigal (‘Orumaiyudan’), and one more uncommon gem from Papanasam Sivan in Khamas (‘Thiruvalar Mylaiyin’). The repertoire was in depth.

Sanjay supplied a wise method for making a brief live performance rely. How does one distribute the time in a 90-minute outing and but present the illusion of a full fare? That includes extra songs is one device. The opposite is maintaining manodharma on an excellent keel and controlling the overruns with self-discipline. This method has a flipside too. It seems like a well-planned album slightly than a free-flowing kutcheri. His stature permits Sanjay the latitude for this trade-off. Many imagine that within the Carnatic context, the language is an additional ornamentation to the music slightly than the opposite means round. If the purpose of Sanjay’s campaign is to assign a pivotal spot for Tamil compositions in concert events, extra kritis with enviable musical gloss have to be unearthed.

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