Sandeep Narayan exhibits the versatility of his voice

Sandeep Narayan’s concert for The Music Academy had a surfeit of high musical moments. Sandeep’s high-voltage concert with a full arc of emotions enabled by a multi-tonal voice appealed to both the connoisseurs and the lay audience.

The Khamas kriti by Muthuswami Dikshitar, ‘Santana gopalakrishnam’ gave a bright opening. A Bhairavi kriti, ‘Ethanai kaettalum’ by Oothukkadu Venkatakavi in Misra Chapu followed. This kriti is full of raga bhavana, and Sandeep presented it with remarkable sensitivity, highlighting the nuances well. ‘Vinaradana manavi’ in Devagandhari (Tyagaraja) with swaras was the prelude to the storm that gathered subsequently.

The Rishabhapriya alapana had a dual pulse — a reflective one in the early part and power-packed non-stop phrases later. However, this meant rationing of time for the rest. H.N. Bhaskar eschewed some of the theatrics in his pleasing raga alapana.

Sandeep Narayanan with H.B. Bhaskar (violin), Sai Giridhar (mridangam) and Thirupunithura Radhakrishnan (ghatam).
| Photo Credit:
K. Pichumani

‘Gana naya desika’ is the go-to kriti in this raga and Sandeep’s majestic rendition deserves praise. Swaras followed the kriti that went without the customary niraval.

Begada was the choice for the RTP. Sandeep and Bhaskar presented an aesthetic, slightly abbreviated version of the raga. Following a routine tanam, Sandeep sang an engaging pallavi set to Tisra Triputa in four kalais that created enormous space for some crafty niraval. ‘Sagari kanakavarshini’ playing on the swaraksharam of ‘sa ga ri’ had both musical salience and rapid-fire moments.

This ambidexterity is a useful skill in Sandeep’s armoury. But it must be deployed carefully so that sensitivity is not short-changed. Ragamalika swaras were also anchored on ‘sa ga ri’ with Anandabhairavi, Bindumalini and Nalinakanti. These 20 minutes punctuated the overall entertainment.

Most in the audience would have swayed to the folksy hymn ‘Ninnu vidisi undalenayya’ in Kedaragowla, to which Sandeep did justice.

Mridangist Sai Giridhar and ghatam artiste Tirupunithura Radhakrishnan were peppy throughout, showing good laya control in the pallavi that oscillated from slow to ultra-fast.

Sandeep has a nicely tempered voice that can handle both edge-of-the-seat crescendos and bhava-laden phrases. But, in this concert, one felt the former tilted towards the latter. There was only one minor kriti by Tyagaraja in the concert. A few more kritis would have ensured balance.