Kamalakiran Vinjamuri (violin), K. Sai Giridhar (Mridangam) and N. Sriranjani Santhanagoplan with Guruprasad (Ghatam). , Photo Credit: Jyoti Ramalingam B
Recognizing opportunities amidst challenges is an art in itself and Sriranjani Santhanagopalan demonstrated her mastery in it. Despite starting late by more than 10 minutes, the tambourine fading repeatedly due to temperature fluctuations and the temperamental focus lights, the young singer maintained his poise and delivered an impressive rendition at the Krishna Gana Sabha.
The cumulative time loss may have driven him towards Plan B and experimental approaches. Only one raga was chosen for detailed exploration – and it was a mesmerizing Ritigaula. Nirawal was notably absent. However, there was no lack of depth or sublime in his presentation, which included Kamalakiran Vinjamuri (violin), K. Sai Giridhar (Mridangam) and N. Guruprasad (Ghatam) delivered with precision and panache.
Sriranjani performing at Santhangoplan Krishna Gana Sabha’s 2024 Margazhi Utsav. , Photo Credit: Jyoti Ramalingam B
The behaag varnam ‘Vanjaksha’ provided a bright start. ‘Telialeru Rama’ was created from a brief sketch by Dhenuka. In this work, Tyagaraja laments humanity’s ignorance of the path of devotion and its entanglement in worldly pursuits. Sriranjani’s rendition transformed the composer’s suffering into a feast of melody, with many aspects coming together – the pace, the rich emotion through the tapestry of accompaniments, Kamalakiran’s playing a perfect foil in the lower octave, and the support of Sai Giridhar and Guruprasad. . In the Swarakalpana section, the skilful use of nyasam (relaxation) on Sadharana Gandharam and Kakali Nishadam, the two principal notes of the raga, brought out its essence. Kamalakiran’s responses in the lower range of the middle octave were breathtaking.
Sriranjani Santhangoplan. , Photo Credit: Jyoti Ramalingam B
Another short raga alapana, this time Yamuna Kalyani, is the prelude to ‘Nandagopal Mukunda’ in which Dixit invokes Krishna through his divine qualities. The slow pace allowed Sriranjani to capture the evocative tone of the piece. ‘Nizamarmmulanu’ by Tyagaraja and ‘Shruti Shastra Purana’ by Kalpanaswaras at the beginning of the Charanam were enthusiastically presented, and a leisurely ‘Parvati Ninnu Ne’ by Shyama Shastri restored the balance.
Then reached Ritigaula in all its glory. Sriranjani penetrated deeply into its Mandra Sthiri and developed the style of the raga methodically. Kamalakiran matched the singer phrase by phrase in his portrayal.
Subbaraya Sastri’s masterpiece ‘Janani Ninnuvina’ in Mishra Chapu unfolds in a majestic gait, highlighting the beauty of the composition, its famous Chittaswara and the associated literature. Swara Sahitya in alternative tempo after Charanam was a delightful presentation. The vocal exchange began in ‘Tamasamu Seiyaken’ in the first movement, with phrases of languid charm developing into lively outbursts in the second.
Tani Avtaranam saw Sai Giridhar and Guruprasad engaging in an entertaining interplay of rhythmic patterns.
‘Kasturi Tilakam’ is a famous verse Krishna KarnamritamWhich included Swathi Tirunal’s bhajan ‘Aaj Aaye Syam Mohan’ in Shuddha Sarang, Kalki’s ‘Poonkuyil Koovum’ in Kapi and M. Balamuralikrishna’s Thilana in Ahirbhairava, which added variety to the concluding section.
published – January 09, 2025 05:56 PM IST
