KS Vishnudev and NJ Nandini presented a musical program based on Shringaar for the Bharat Sangeet Utsav 2024. Photo Courtesy: Srinath M

Thematic presentations on a rasa are quite unusual on the Karnataka stage. The joint artistic effort of KS Vishnudev and NJ Nandini for Bharat Sangeet Utsav 2024 explored the queen of all rasas – Shringaar. His concert on ‘Romance in Carnatic Composition’ included an interesting set of not often heard songs. The presentation was excellent in terms of the variety of compositions which both singers shared expertly. Vitthal Rangan, Vijay Natesan and N. Guru Prasad conducted the violin, mridangam and ghatam respectively.

Not giving much importance to the standard concert format, the artists explored the theme in their own unique way. He debuted with Dharmapuri Subbaraya Iyer’s ‘Smara Sundaranguni’. This Javali, even if tuned in Paras, is usually presented with a distinctive Pratidhammad foreign note which is used to create a beautiful melodic deviation. Both of them quite wisely centered some of their Kalpanaswarams around Pratidhamyamam.

Jayadeva’s Ashtapadi is a perfect example of Shringara and is known for its tasteful exploration of this Rasa. Nandini and Vishnudev presented one Ashtapadi each – ‘Yahi Madhav Yahi Keshav’ in Hindolam and ‘Vadasi Yadhi Kinchidapi’ in Mukhari. The first Ashtapadi Khandita traces the state of mind of Radha as the heroine, who punishes her lover Krishna for his unfaithfulness. The second describes Krishna trying to pacify an angry Radha as she is unable to bear the separation. The preceding verses of the composition were sung as Virutham.

Vishnudev and Nandini were accompanied by Vitthal Rangan (violin), Vijay Natesan (mridangam) and N. Guruprasad (Ghatam). , Photo Courtesy: Srinath M

neat presentation

‘Sringarinchukoni’ of Tyagaraja’s ‘Nauka Charitram’ describes the Gopis getting ready to accompany Krishna to the Yamuna. Nandini and Vishnudev sang it together before presenting the elaborate Khamas Alpana. Instead of singing the alapana one by one, he presented the phrases one by one, exploring the raga in a well-coordinated and eloquent manner. Vitthal also presented some interesting ideas in his responses. Poochy Srinivasa Iyengar’s Javali ‘Marulu Konadira’ was taken as the main piece in the Charanam line ‘Vanja Netrudau Srinivasa Nayaka’ with attractive niraval and kalpanaswaras. The percussionists provided pleasant and appropriate support throughout the concert, their enthusiastic participation in the improvisational section of the main part being particularly impressive.

Annamacharya’s composition ‘Paluku Tenela Talli’, which depicts the union of the divine couple Venkatesh and Alamelu Manga, was sung by Vishnudev. Set in Abheri, it is often presented in Kuchipudi rendition. ‘Chantara Sayaka Roopa’, a poem composed by Irayyaman Thampi and composed by Cheratala R Gopalan Nair, was sung by Nandini. The recital concluded with Jaavali ‘Sakhi Prana’ in Chenchurutti. The short concert was a delight for the way the nuances of Shringar were highlighted through songs of different languages ​​and ragas.