Vignesh Ishwar acting at Sri Parthasarathy Swami Sabha
| Photo Credit: RAGU R
Vignesh Ishwar, the recipient of this 12 months’s Dr. MLV award from Sri Parthasarathy Swami Sabha, carried out to a packed viewers. Every piece that he offered was adopted by thunderous applause.
Known for his sturdy and hanging voice, Vignesh started his live performance with the vigorous ‘Manavyala’ (Tyagaraja) in Nalinakanti with a couple of rounds of swaras. A quick sketch of Ritigowla led to ‘Paripalayamam’ (Swati Tirunal) with a exact swarakalpana on ‘Tamarasayata lochana’. ‘Vazhi maraiththirukkude’ (Gopalakrishna Bharati; Thodi) in a sluggish tempo tugged at the heartstrings. Should an alapana at all times prelude a kriti, and why not a tanam? Well, the present tendency to alter the routine kutcheri format got here to the fore. So Vignesh sang a tanam in Saranga and unusually rendered it for a brief length, resulting in ‘Neevada ne gana’ (Tyagaraja). ‘Satyambu nityambu’ was chosen for swarakalpana.
Elaborate detailing
Saveri raga was taken for a leisurely and an elaborate detailing. Vignesh used his vocal prowess to delve deep into the raga to current each its delicate and distinguished aspects. But it appeared extra demonstrative than poignant. ‘Durusuga krupajoochi’ (Syama Sastri), with its eloquent chittaswaram and sahityam, was a laudable train. The kriti was rendered in the proper tenor and Vignesh went for niraval at ‘Narayani syamakrishna vinutha’. Swarakalpana adopted in ‘kizh’ and ‘mel’ kalams intimately with shadjam-centric combos drawing extensive appreciation.
Vignesh Ishwar was supported by H.N. Bhaskar on the violin, Patri Satish Kumar on the mridangam and Ok.V. Gopalakrishnan on the kanjira. All these ace artistes stored the live performance’s spirit excessive all through. It is superfluous so as to add that the tani avartanam brimmed with power. Bhaskar adopted Vignesh’s creativity like a shadow.
The last items had been ‘Nadantha kaalgal nondhavo,’ a Thirumazhisai Azhwar Pasuram in Sindhu Bhairavi and an abhang.