Vidya Kalyanraman and Binda Manikavasam introduced a thematic concert, including the unique Siyama Shastri Critis. , Photo Credit: Velkani Raj B
With cooperation and thematic presentations, the Carnatic concert is moving ahead of the conference in search of rapid, in search of novelty and artistic coordination. Singers Vidya Kalyanraman and Binda Manikavasakan are among those who follow this developed trend. The two joined the forces to introduce a soulful repetition of Ananya Syama Shastri Critis for Madhurdhwani at the Arke Convention Center.
Such enterprises, however, face their own challenges, such as covering Patantam variations, managing Sruta alignment, sharing music space between co-leids, and ensuring spontaneous sweet flow. It is for the credit of the pair that it was successful in navigating these with Evolution, supported by Madan Mohan (Violin), Pongulam Subramanian (Mridangam) and Sai Subramaniam (Morsing).
Siyama Shastri, Quintessiant Devi Apasaka, infected her critics with music gravity and lyrical candor. It is believed that he deviated from his central devotional focus (Goddess) on only two occasions: a Kanchi in praise of Varadaraja (usually set in the Chowka Colums (Slow Tempo), his compositions come out of philosophical and meditative deep than philosophers, with heartfelt repression to the philosopher mother.
Sportal rendering
This was a musical understanding that Vidya and Binda began with a vanam, which was looking at the dull tempo of the composer in Critis. A bright ‘Dayanidh’ set the tone in Begda, which was carried forward by the moved Kalpashnavars. With ‘Brovavamma’ in Manji, the artists tapped for the musician’s pain and Rasila for intimate petition. The layers of Sangatis sung at Mishra Chapu’s untoward rhythm offered an immersive experience.
The first raga taken for welfare expansion was, Birda established the platform with a measured complexity, which tracked her classic figure before growing smoothly into Tara Stay. Vidya followed the suit, her visit to Upper Octave was dotted with delicate phrases. Madan’s reflective response to the violin hugged the grandeur of the raga with restraint. ‘Himadisuthe Pahimam’ was a popular option in Roopakam, and Nirwal and Swara exchanges in Charanam underlined the enthusiastic engagement of the dress.
The singing of Yadukulakmoji Swarajati – a crown in the Ovre of Shastri – was speed and emotionally dignified in the appeal. The cleverness of Mridazist Subramanian in gap-filling was well supplemented on missing by Sai Subramaniam’s crisp pluce. The sharpness of ‘Triloka Matha’ in Paras cuts like a flash of lightning in the calm of a moonlight sky.
Vidya Kalyanraman and Brinda Manikwasakam are accompanied by Madan Mohan (Violin), Pongulam Subramanian (Mridangam) and Sai Subramaniam (Morasing). , Photo Credit: Velkani Raj B
A little
Thodi depicted the mainstay of the evening. Vidya started Alapana with an introspection tone, and Binda expanded it with cleverness, both of them balanced imagination and restraint. He also performed well to be vested in the sense of attention of the raga, which is very important for Shastri’s compositions, not away from the Regal Sweep and Extension of Short. Madan responded with Tanwala purity and sweet sweetness. Till then there was no surprise in the context of the options of the critice, and a rare one reason. For example, on Q, the pair bound with the rendering of ‘Emani Migula Verintu’, impused with Bhava and Visanti. Both left Nirwal, but the Swara sequence in the Keys column was particularly striking.
Tani Avartnam saw Subramanian a rhythmic tapestry with a mixture of supple touch and bold stroke on the ancestor, while Sai Subramaniam added vitality to the dialogue collided through his animated interplay.
In Punnagavarali, ‘Kanakasala Viharini’, another Ode for Kamakshi by the musician, was clearly presented before the repetition wound with ‘Bruhanayak’ in Madhyamavati.
Published – June 02, 2025 06:35 pm IST
