Vijay Shiva with L Ramakrishnan (violin), NC Bhardwaj (mridangam) and S Sunil Kumara (kanjira) and disciple Sanjay Swaminathan performing at the Bharat Sangeet Utsav at Narada Gana Sabha in Chennai. Photo Courtesy: Srinath M

It is said that restraint is the hallmark of sophistication. Karnataka and N for the Bharat Sangeet Utsav 2024 presented by Sri Parthasarathy Swami Sabha. Vijay Shiva’s recent concert is proof of this. l. Ramakrishnan (violin), NC Bhardwaj (mridangam) and S. In the company of Sunil Kumara, there were no frills and pretensions as the veteran singer walked in his time-tested fair in his ‘Sampradaya Kachhari’ at the Narada Gana Sabha main hall. (Kanjira), his disciple Sanjay Swaminathan gave vocal support.

Vijay Shiva’s natural style, which captures the essence of the tradition, was ideally suited to the theme of the evening, and he wouldn’t have had to strain his nerves to pull off the task.

His opening piece in the Paras (3rd Triputa), Shyama Shastri’s ‘Neelayakshi’ provided a solemn and reverent tone to the proceedings. After this, Vijay Shiva took ‘Saketha Nagarnath’ filled with the company of Mysore Sadashiva Rao in Harikambhoji established in Roopkam. The opening phrase of the charanam, ‘Rajitha amar pala’, is an attractive alternative to the niraval and kalpanaswaras, which Vijay Shiva explores perfectly.

The concert gained further momentum with a lively Lathangi Alpana before Patanam Subramaniam Iyer’s ‘Aparadhamulaniyu’, enriched by a niraval in the Charanam line, ‘Vega Nannubrovumani’. Here, Vijay Shiva’s rendition, shimmering with intensity, yet with perfect tempo, was completely mesmerizing.

The singer believes in Carnatic music sect. Photo courtesy: M. Srinath

Bhairavi and Shankarabharanam, which emerged as the main flavors of singing, were explored through Narayana Tirtar’s Tarangam ‘Govinda Ghataya’ and Tyagaraja’s ‘Manasu Swadhinnamaina’ respectively. In between, Vasantha’s soulful rendition of Thiruchendil Kalambagam’s Virutham ‘Panippagai Mayilum’, followed by Muruga ‘Maa Dayai Nidhiyanam’ in the same raga and Papanasam Sivan’s composition on Chittaswaram added to the grandeur.

Vijay Shiva was at his best as he captured the aura of Bhairavi, carefully highlighting the old world charm of the raga. Ramakrishnan, in response, impressively moved the bow and strings to create a joyous raga. Tarangam, then, the section began to groove to Chapu’s moves before arriving at the captivating vocal exchange in ‘Sardindu Sama Vadana’, in which Ramakrishnan, Bhardwaj and Sunil Kumar partnered with the singer for a rewarding joint venture.

The majesty of Shankarabharanam was revealed when guru and disciple took turns in the upper octave to ride the wave of crescendo before a quiet return to the Mandhara stable. Ramakrishnan was again in his element, coming up with a matching alapana. After a clinical rendition of the krithi ‘Manasu Swadhinananai’, Vijay Shiva made a niraval debut at the beginning of Anupallavi ‘Tanuvu Tanu Gadani’, before joining the Kalpanaswara waterfall. Bhardwaj and Sunil Kumar graced the concert and showcased their rhythmic talent with a unique chemistry. Clarity and energy marked his absorbing Taani Avtaranam in Mishra Chapu.

Sanjay Swaminathan did a commendable job by helping his guru in the opportunities he got in the Manodharma section.

There was a perfect balance and variety in the song selection in terms of tempo and language in a concert, with no musician featured more than once. The final stages of singing included ‘Ehi Annapurne’ in Punnagavarali, a Thillana in Kadhanakuthuhalam and a Thiruppugazh in Asaveri, each adding to the appeal of the concert.