Raja Annamalai Mandram was teeming with rasikas, including hard core Sanjay Subrahmanyam fans.
Despite having completed more than 10 concerts for the Season, Sanjay’s energy levels were still high. The singer plans his concert for Tamil Isai Sangam assiduously and that evening, his efforts bore fruit. It rained swaras for Duraiswamy Kavirayar’s ‘Varuvai Varam Tharuvai’ (Kedaram). Sanjay was joined by S. Varadarajan (violin) and Neyveli B. Venkatesh (mridangam).
The power and range of Sanjay’s voice lend classical authenticity to his renditions. Harikhambodi, not often heard on concert platforms, came to the fore even as he brilliantly interpreted the raga. Listening to Papanasam Sivan’s ‘Kamala Padamalarinai’ evoked the feeling that one was listening to a Tiruppugazh.
Sanjay always has an ace up his sleeve and that evening it was the raga alapana of Vardhini. The chatsruthi rishabham and antara gandharam in the raga reminded one of Hindustani Jog. Sanjay offered an exquisite treat. Koteeswara Iyer’s ‘Kalangade Manamae’ was set in a breezy pace. It was freestyle kalpanaswaras with accent on manodharma.
A viruttam in Kalyani led to Gopalakrishna Bharati’s 'Ananda Koothaadinaar.’ The vilamba kala rendition clubbed with a brilliant, instinctive niraval brought to this writer’s memory Madurai Somu's performances.
Vedanayagam Pillai’s ‘Oho Kalamay’ in Sahana saw B. Venkatesh in heightened spirits adding spice to Sanjay’s rendition.
Bhairavi, reserved for the RTP, saw Sanjay experimenting all the way. Some of his plain notes (mottai pidigal) were piercing. The tanam in particular, with kokki pidis, was impressive.
Varadarajan is recognised as one of the few artists who understands the path the main singer takes and plays with a sense of proportion. His raga alapana was a second treat to rasikas that evening. The pallavi in Mishra Chapu with eduppu after 4 beats, comprising the first two lines of poet Bharathidasan’s ‘Tamizhukku Amudhendru Paer’ saw Sanjay continuing his experiment in the swaras, particularly in mel kalam.
Venkatesh was as innovative as Sanjay in the tani, playing mel kalam towards the end. Kovai Mohanram (ghatam) supported his efforts.
