Vivek Sadasivam rendered Pantuvarali and Vagadeeswari for equally lengthy durations in his two-hour vocal at Naadhabrahmam, contrasting the great thing about the 2 ragas set to different instances of day. Both ‘Shambho Mahadeva and ‘Paramatmudu velige’ had been Tyagaraja’s; solely that an entailing Tani avartanam for the second outlined its standing as the primary.

The teenager’s Pantuvarali alapana blended flashy frills with long-drawn notes. What started as a briga-powered alapana quickly turned unhurried when punctuated with plain resting locations. Vivek had a sore throat that performed truant in the direction of the higher registers. The good aspect was a robust baritone. Violinist Indhalur Shyam Raghav sketched the contours of Pantuvarali nicely in his reply, overcoming preliminary struggles in negotiating sure bends of the night raga. The medium-paced ‘Shambho Mahadeva didn’t precisely match the feel of the alapana, however, Kolkata-raised Vivek’s Miraval at ‘Sharanagata janarakshaka’ carried reposefulness with a contact of Hindustani classical. The swaraprastara constructed festivity.

In reality, Vivek’s aptitude for vivacity was evident within the earlier (second) quantity. ‘Ganapatiye Karunanidhi in Karaharapriya was peppy sufficient for the percussionists to heat around Papanasam Sivan’s add tala composition. Both V.M. Kannan (mridangam) and Arthur N. Hari Narayanan (ghatam) sustained the supportive spirit, not lacking it even throughout the free passages of their tani avartanam.

That 14-minute interface within the second half of the live performance did sustain the sobriety of the centrepiece in Vagadeeswari. For that, the credit score mainly goes to the vocalist. Delivering the kriti to an optimum pace, he ensured that its proportion suited the span of the kutcheri. Vivek’s 10-minute alapana of the morning raga typically trod alongside Khamas, whose parent-scale Harikamboji differs from Vagadeeswari on only one observation. The distinguishing that shruti Rishabha gained centrality in Shyam Raghav’s solo response.

Imaginative swaraprastara

‘Paramatmudu’ was neatly delineated with exact loops and slides. ‘Gagananila tejo’ on the opening of the charanam gave a (false) trace at a niraval within the offing. Vivek bypassed the train and launched into an imaginative swaraprastara. This nine-minute drill displayed the vocalist’s penchant for arithmetic progressions, however seldom diluting the raga essence.

Earlier, Vivek started with a varnam in Kedaragowla. Tiruvottiyur Tyagaiyyar’s ‘Swamidaya chuda’ begins with an excessive observation. So, the vocalist opened with a raga-in-a-nutshell alapana. His Pantuvarali spanned 36 minutes, but a Mohanam that adopted, too, got here with an introductory alapana — crisp and efficient. A virutham preceded the Mishra chapu-set ‘Kadambari Priyamani’s. That turned out to be the live performance’s sole kriti by Muthuswami Dikshitar, to whom Vivek traces his gurus’ lineage. Tyagaraja’s ‘Emidova’ (Saranga) was the filler forward of the primary suite.

Winding up with Gopalakrishna Bharati’s ‘Iduvo tillai’ in Sindhubhairavi after ‘Uppum karpooramum’ (by one other Tamil composer Marimutha Pillai), Vivek’s music bore the floweriness of his guru Sanjay Subrahmanyan as a lot because the sobriety-laden orthodoxy of late R.Ok. Srikantan, who earlier taught him. Either method, there was no imitation or gimmickry. Sobriety and originality had been the hallmarks.

The author is an eager follower of Kerala’s performing arts.

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