Splendid alapana at music festival in Madurai

The third day of the 74th annual music and arts festival at Sri Sathguru Sangeetha Samajam witnessed the vocal concert of Vidya Kalyanaraman, with Attukkal Balasubramanian on the violin, K.V. Prasad on the mridangam and Udupi Srikanth on the khanjira.

Worshipping Lord Hayagriva and Dakshinamurthy, she commenced with “Sarasija nabha ninnu” by Swati Thirunaal in kambhoji and set the rhythm of the concert.

Vidya went on to render the powerful invocation “Swaminatha paripaalaiyasumam” by Muthtuswamy Dikshitar in Nattai on Lord Shanmugha, who taught the secret meaning of Pranavam to Lord Siva at Swamimalai, one of the Arupadai veedus. 

Dikshitar’s Navagraha kriti, “Chandram Bhaja Maanasa Saadhu,“ in Asaaveri on Chandra (moon, one of the eyes of Venkatesha), was the vocalist’s next rendition, which strengthened the devotional mood of the rasikas.

“Karacaraṇa kṛutaṃ vākkāyajaṃ,”(Shiva Aparadha Kshamapana Stotram by Adi Sankara), was rendered as a prelude to “Shambho Mahadeva Shankara “ by Thyagaraja in kaamavardhani/Pantuvatali on Lord Sundareshwara of Kovur. Her precise articulation of lyrics (sāhitya) and syllables conveyed the devotional meaning and intricate musical structure to the rasikas.

Then a splendid alapana that followed, appreciated by audience, in Sahana for “cittam irangada denayya sendil velayya” Paapanaasam Sivan, pleading for compassion from Tiruchchendur Muruga, gave peace to the inner self and soothed the audience.

The vocalist tried to connect the rasikas to divine feminine energy and cosmic balance through “Thaye Tripurasundari,” by Periyasamy thooran in Suddha Saveri, on the goddess of Thiruvanmiyur.

The main raga Kalyani for “nijadasa varadakhila jagadananda”(extoling Rama as the Lord of the Universe (Akhila Jagadananda)), by Patnam Subramanya Aiyyar, witnessed her graceful raga alapana and uplifted mood of the audience.

Violinist Attukal Balasubramaniam, acted as a versatile melodic supporter, mirroring and enriching the vocalist’s melody. The tani that followed showcased the rhythmic creativity of K.V. Prasad on mridangam and Udupi Srikanth on the khanjira.

Her final numbers were the evergreen “Chinnanjirukiliye” in raagamaalika by Subramanya Bhaarati, Dhanashree Thillana by Maharaja Swathi Thirunal.