Akshay Padmanabhan’s ‘Thaaye Dayapari’ focussed on the divine female

Akshay Padmanabhan’s thematic live performance for Bharatiya Vidya Bhavan’s ‘Tamil music pageant’ was steeped in devotion. The vocalist was accompanied by M. Vijay (violin), B. Sivaraman (mridangam) and Okay.R. Sivaramakrishna (kanjira).
| Photograph Credit score: Particular Association

Some compositions are so awe-striking they depart an indelible imprint on the thoughts. One such masterpiece is Lalgudi G. Jayaraman’s ‘Angayarkanni’, a Navarasa Varnam that portrays 9 feelings, akin to these talked about within the Natya Shastra, in as many ragas. Primarily designed for dance recitals, its beautiful lyrics, applicable ragas and the seamless fusion with rhythmic cadences (poruthams, the composer’s insignia) mix to make it a catchy opening selection in Carnatic live shows as properly.

Akshay Padmanabhan, in his thematic recital ‘Thaaye Dayapari’ at Bharatiya Vidya Bhavan’s Tamizh Isai Vizha, opened with this varnam. It celebrates Goddess Meenakshi’s responses to Shiva’s Thiruvilaiyadalgal (divine play-acts) and extols her personal virtues. The 9 ragas and the corresponding sentiments are Bilahari: Anandam (happiness), Husseni: Sringaram (love), Valaji: Adbhutam (wonderment), Saranga: Hasyam (laughter), Sucharitra: Bheebatsam (disgust), Atana: Roudram (anger), Rasikapriya: Bhayanakam (concern), Sahana: Karunyam (compassion), and Nadanamakriya: Santham (peace).

By no means a uninteresting second

Sustaining the momentum, Akshay introduced a short alapana of Jaganmohini segueing into Gopalakrishna Bharati’s ‘Sivakamasundari’ in Rupakam. The tune, predominantly set in madhyama kala, is apt for kalpanaswaras, and the vocalist made account of himself, rendering the identical on the pallavi opening. Papanasam Sivan’s seldom-heard ‘Vaani arul purivaay’ in Dhanyasi was sung subsequent. The pleasing chittaswaram enhanced the attraction of the tune that seeks the blessings of Saraswati.

When Akshay took up Begada, his voice had settled into a greater area, offering a sophisticated sheen to the raga rendition. Expectedly, he sang ‘Kadaikkan vaithu’ by Ramaswami Sivan in Misra Chapu. The niraval and swara passages on the charanam line ‘Santatam pugazhndu’ have been partaking because the accompanists M. Vijay (violin), B. Sivaraman (mridangam) and Okay.R. Sivaramakrishna (kanjira) complemented Akshay properly.

The favored ‘Thaaye tripurasundari’ (Suddha Saveri-Khanda Chapu) by Periyasami Thooran was rendered with zest. The lengthy and iconic chittaswaram served as good flourish to the ode devoted to the goddess of Thiruvanmiyur.

Swish Bhairavi

The principle variety of the night was Papanasam Sivan’s ‘Thaaye Bhairaviye’, and Akshay reserved his finest for it. He unfolded Bhairavi with measured grace, using the gamakas with precision, and vividly introduced out the devotional fervour of the tune. The niraval and swarakalpana exchanges have been well-articulated.

Akshay added color to the live performance with one other ragamalika. ‘Nee thaan thunai neelambari’, composed by N.S. Chidambaram, has been set in eight ragas whose names denote the assorted types of Devi — Nilambari, Vasanthabhairavi, Gowrimanohari, Saraswati, Sriranjani, Mohanakalyani, Durga and Jyotiswarupini. The live performance concluded with Subramania Bharati’s ‘Thedi unai saran adaindhen’ in Sindhubhairavi.

Akshay’s ally is his crystalline voice. At house within the center and decrease octaves, it, nonetheless, tends to be much less pliable when hitting the excessive notes. His skirmishes with sruthi early on within the live performance have been a little bit of a dampener.

Vijay exuded confidence and sparkled in all his raga alapanas, Bhairavi being significantly chic. Sivaraman and Sivaramakrishna performed out a sedate however refined tani, and displayed good anticipation general.

It might have been excellent and full if a tune or two on Lakshmi had been included for the reason that theme interprets to ‘O, Mom Compassionate!’. Nonetheless, one on Saraswati rightly made it to the record.