Akshay Padmanabhan’s thematic concerts were immersed in devotion for the ‘Tamil music festival’ of Bharatiya Vidyabhan Bhavan. M. Vijay (violin), b. Shivraman (Mridangam) and KR were with Sivaramakrishna (Kanjira). , Photo Credit: Special Arrangement

Some compositions are so afraid that they leave an indelible mark on the mind. One such excellent work Lalguri ji. Jayaraman’s ‘Angayarakani’ is a Navarsa Varanam that portrays nine emotions, which are similar to the people mentioned in the drama scripture, as much as in many ragas. Mainly designed for dance recall, its best song, seamless fusion with suitable lyrics, suitable ragas and rhythmic rhythms (Porutham, composer’s symbol), combine it to make it an attractive opening option in Carnatic concerts.

Akshay Padmanabhan opened with this vanam in his thematic repetition ‘Thaid Dayapari’ in Tamiz Isai Viza of Bharatiya Vidya Bhavan. It celebrates the reactions of Goddess Meenakshi towards Shiva Thiruvilaiyadalgal (Divine play-acts) and enhances its own qualities. Nine raga and this same feelings are Bilhari: Joy (Happiness), Hussaini: Sergaram (Love), Valaji: Adhutam (Surprise), Saranga: Hasim (Laughter), Sucharitra: Bhibatsam (Disgust), Atana: Raudram (Anger), Rasikapriya: Gruesome (Fear), tolerated: Karunyam (Compassion), and dirty: Sedation (Calmness).

never a dull moment

While maintaining the speed, Akshay presented a brief Alpana of Jaganmohini in Gopalakrishna India’s ‘Sivasundari’ in Roopak. The song is, mainly set in Madhyama art, is suitable for Kalpneshwar, and the singer created a good account of himself, which is similar in the inauguration of Pallavi. Papanasam Shivan’s Papanasam Shivan’s ‘Vani Arul Purivay’ was sung next in Dhanyasi. The pleasant Chittaswararam extended the appeal of the song that wants the blessings of Saraswati.

When Akshay picked up the Begada, his voice came into a better place, which was polished for singing raga. Hopefully, he sang ‘Kadikkan Vathu’ by Ramaswamy Shivan in Mishra Chapu. Nirwal and Swara Marg Sangatis M in Charanam line ‘Santatam Pugahanadu’. Vijay (violin), b. Shivraman (Mridangam) and KR were engaged in the form of Shivarakrishna (Kanjira).

The popular ‘Thi Tripurasundari’ (Suda Sever-Khand Chapu), popular by Periyasamy Thuron, was presented with enthusiasm. Long and iconic Chittaswararam served as the right to the goddess of Thiruvanmiyur.

Graceful Bhairavi

The main number of evening was Papanasam Shivan’s ‘Thaye Bhairaviye’, and Akshay reserved his best for this. He brought Bhairavi out with the measured grace, employed Gumk with accuracy, and clearly brought out the devotional enthusiasm of the song. Nirawal and Swarakalpana exchanges were well expressed.

Akshay added color to the concert with another ragamalika. The ‘Ni Thana Thuni Nilambari’ composed by NS Chidambaram is set in eight ragas, whose names reflect various forms of the goddess – Nilambari, Vasathbhairi, Gorimanohari, Saraswati, Sriranjan, Mohankyani, Dugakyani, Dugakyani, Dugakalyan, Dugakalyan, Dutakani. The concert concluded at Sindhubhairavi with Subramania Bharti’s ‘Thedi Uni Saran Adandhane’.

Akshay’s colleague is his crystalline voice. At home in middle and lower octaves, it, however, is less viable when hitting high notes. In the concert, his clashes with Srithi were little as a moist.

Vijay faced confidence and all his ragas, Bhairavi, were specially sublime. Shivraman and Sivarakrishna seduced but played a subtle tani, and overall showed good expectations.

It would have been ideal and complete if one or two songs had been included on Lakshmi because the theme ‘O, Mother Comisse!’ Translates into However, on Saraswati, one placed it in the list correctly.