The delayed start, on account of the inaugural ceremony, did not dampen the spirit of T.V. Sankaranarayanan. As exuberant as ever, he went on stage that evening without any vocal support. Beginning with a viruttam in Mohanam, TVS let his voice traverse through all ranges before launching into ‘Gajanana Mam Palaya’ (Thulasivanam). Viruttam singing is a special art wherein lies the singer’s talent of choosing the right words for long phrases T.V. Sankaranarayanan’s concerts generally have a liberal dose of viruttams.
Tirumangai Azhwar pasuram ‘Vedaththai Vedaththin’ in Suddha Dhanyasi was a demonstration how a viruttam can be coaxed to evoke emotions.
Trivandrum Harikumar’s interesting nadais for ‘Sri Parthasarathy’ embellished the song. Kalpanaswaras for this song in various combinations came across as a rhythmic raga exploration. The sarva laghu, janta and ascending garland of swaras added colour.
H.N. Bhaskar’s reply for the swaras were measured. The exposition of Pantuvarali was characterised with sphurita and tirupa phrases. Bhaskar’s replies were marked by brilliant time-spacing yet doing justice to the ragas without going for an over-kill. The Varamu raga alapana saw Sankaranarayanan getting an emotional appeal through oral manoeuvre - swirls of the tongue and the position of lips.
‘Manasuloni Marmamulu’ offered enough scope for him to go on an adventure in the swaras. Sankarabharanam (Sarojadhala Nethri), the main, was a splendid effort. The meaningful niraval and a fresh approach to the kalpanaswaras gave a new dimension to the concert. Harikumar and Rajaganesh’s thani was a combination of soft and aggressive beats in different patterns that created a pleasant effect.
