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The Hindu
02-07-2025
- Entertainment
- The Hindu
How Semmangudi Srinivasa Iyer continues to inspire young Carnatic vocalists
The Music Academy auditorium, Chennai, was hushed, not with silence, but with expectation. The occasion carriedthe weight of the lineage and memory of a voice that once defined an era. Organised by K. Vivekanandan, in memory of his illustrious grandfather, Semmangudi R. Srinivasa Iyer, the endowment concert drew rasikas who came not only to listen but to reminisce. For many, Semmangudi was not just a vidwan, but an institution. A musical conscience that set uncompromising standards for bhava-laden music, raga integrity, and sahitya clarity. The young and promising vocalist Adithya Madhavan offered a thoughtfully curated 90-minute kutcheri that celebrated the quintessential Semmangudi soundscape. He was supported by V.S.P. Gayatri Sivani on the violin and Kaushik Sridhar on mridangam. The repertoire, centred on Karaharapriya and its janyas, paid homage to the Semmangudi bani, which is known for its kaisiki nishadam-rich ragas, bhava-driven delivery and a rakti-oriented approach to raga alapana. The concert opened with the varnam 'Vanajakshi' in Kalyani, rendered in a moderately brisk tempo. Adithya used it as a launchpad to settle his voice, initially marred by minor breath breaks. But, as the concert progressed, Adithya's open-throated delivery began to shine through, aided by sensitive mridangam support that avoided overstatement. If Semmangudi's voice has lingered in our memory, it is partly due to renditions like 'Marubalka' in Sri Ranjani, a kriti he sculpted with such precision that its architecture has become canonical. Adithya revisited this classic with a sense of restraint and ragasuddham, letting the raga's charm emerge unhurriedly. His kalpanaswaras at 'Dhari nerigi' were crisp and well-proportioned. Gayathri's violin, never merely echoing, but extending the singer's phrases with an intuitive empathy. The sub-main segment was marked by a brief, yet emotionally luminous Varali alapana, where the raga's innate karuṇa rasa was brought out. The choice of Varali inevitably evoked memories of Semmangudi's enduring connection with the raga, particularly through iconic renditions like 'Ka va va'. Moving into 'Maamava meenakshi', Dikshitar's magnum opus, Adithya maintained a steady gait and his niraval at 'Shyame shankari digvijaya pradayini' was a highlight of the evening. His breath control, alignment with the tala, and depth of voice were noteworthy. The violin and mridangam responded in synergy, enhancing the grandeur without distracting from it. Papanasam Sivan's 'Appan avatharitha' in Karaharapriya, a less-frequently performed composition that served as a nod to Semmangudi's love for the raga, was delivered as a brisk interlude before the concert's main piece. The mel kala composition, though lighter in tone, was well-placed in the sequence, offering a measured contrast that did not break the classical intensity. Adithya reserved his elaborate exposition for Kamboji, a raga known for its regal and rakti nature. Gayatri's violin response was equally compelling, capturing the bhakti-rasa and dignity of Kambhoji with sangatis that were subtle, yet impactful. The kriti that followed, 'Sri raghuvara aprameya mamava', was a bold and welcome choice, a Tyagaraja piece, known for its compositional structure that juxtaposes devotion with dramatic phrasing. The kalpanaswaras showcased his creativity, where he wove rapid-fire swaras, and concluded with a flourish that drew appreciative nods. Kaushik's thani avartanam that followed was brisk and engaging, giving the audience rhythmic variation without overwhelming the concert's tonal atmosphere. The concert concluded with a serene rendering of 'Saa pashyat kausalyam' in Jonpuri, a fitting thukkada that gently let go of the lingering grandeur of the main.
The Hindu
27-05-2025
- Entertainment
- The Hindu
S. Swarathmika chose only Pratimadhyamam ragas for her concert themed on Gopalakrishna Bharathi
It came as no surprise that S. Swarathmika's concert, dedicated to the compositions of Gopalakrishna Bharathi and presented under the aegis of The Music Academy at the Kasturi Srinivasan Hall, was a fitting reflection of the steady strides she has been making in her budding career. What did come as a surprise, however, was her choice of pratimadhyamam ragas only — Purvikalyani and Varali — for exploration, bypassing the more abundant suddhamadhyamam variety. Given Swarathmika's lineage — she is the granddaughter of the late Leelavathy Gopalakrishnan — one might have expected her to strike a balance by drawing from her sizeable repertoire within the composer's corpus. That said, the vocalist carved out a compelling performance, invoking the grace of the cosmic dancer, Nataraja. She was well-supported by Chaganti Ramya Kiranmayi on the violin and Kundurthi Aravind on the mridangam. Gopalakrishna Bharathi, a 19th-century composer singularly devoted to the dancing deity of Chidambaram, elevates Nataraja not just as a religious icon but as a cosmic principle — a metaphysical embodiment of the universe — connecting divinity, motion, matter and time. His portrayal of the Lord's dance is not merely mythic or artistic; it is a profound philosophical metaphor for the rhythm of the universe, as discernible in several of his compositions. A brisk start Swarathmika struck a note of surrender to the Lord through 'Saranagatham enru' in Gowlai, setting a brisk opening. She enhanced its appeal with a swara sequence that was as lively as it was nuanced. 'Chidambaram enroru tharam sonnaal' in Begada, which suggests the shortcut to the divine sanctuary, was sung with devotional fervour. The Purvikalyani alapana unfurled loopy phrases, flashy forays, swirling sancharas, and long notes, particularly in the upper registers, and brought out the raga's evocative mood in ample measure. Ramya Kiranmayi's bow work produced an interpretation that closely mirrored the vocalist's ideas. After a delectable rendition of the song 'Natamadum nathan', set to Khanda Chapu, Swarathmika led the well-crafted swara exchanges in which the concluding avarthanam stood out. 'Thaa thaa thaa nee' in Karaharapriya, a seldom-heard song with a delicate pallavi, was an interesting choice. Swarathmika negotiated it with calm assurance. Swarathmika featured Varali as the main raga and her delineation progressed, gathering flair and momentum, textured with polished gamakas. Ramya Kiranmayi once again displayed a keen melodic sensibility in her response. The composition 'Adiya paadhame gatiyenru' followed. There is an unmistakable felicity in her kriti rendition, and this challenging song was no exception. The niraval at the anupallavi opening 'Naadu pugazhndhidum' was a graceful exposition, and the kalpanaswaras sparkled with vitality. Mridangist Aravind, brought in a lively rhythmic presence, and his Adi talam tani carried interesting patterns and vibrant strokes. 'Adum chidambaramo', a popular number in Behag, was sung next, and 'Kanakasabhai thirunatanam' in Surutti brought the curtain down on a refined recital.
