Vignesh’s love for each note, tune and kriti made his concert enjoyable.
Substituting for the earlier announced Ranjani Guruprasad, Vignesh Ishwar offered an excellent fare during the afternoon concert at the Academy. From the outset the performance had vibrancy which was sustained till the end. The baritone voice rendered every sangati with sharp distinctness. Following an exquisite depiction of Purvikalyani by Ishwar, and then by V. Giridhari on the violin, was Syama Sastri's ‘Ninnuvina’ in Misra Chapu. The brisk, lively and fast niraval at ‘Parama Lopulamu’ with kalpanaswaras around ‘pa’ lent vim to the proceedings. 'Sarasa Saama Dhaana Bhedha Dhanda Chatura’ in Kaapi Narayani (heard in the stage after quite some time) was lilting with a sprinkling of some pleasant brigas. The dashing pace notwithstanding, all the nuances in the composition were in place, along with several original sangatis. Thodi was rendered (ga,,ri,ga,,,ga,ma,ga,ri,sa.....ni-sa-ri-sa nidhadha,) with deep resonance at the lower ‘dha’ karuvai.
Tyagaraja's ‘Kaddunuvaariki’ was a showpiece for perfect diction and musical articulation of profound feeling, particularly during niraval in ‘bhaktudu’ at the upper shadjam on 1/4 take-off.
Full justice was done through four or five avartanas of fast niraval and slow and fast manodharma swara exchanges between Ishwar and Giridhari. While lending exceedingly helpful accompaniment during the kriti, niraval and swara phases, M. Sridhar was also splendid in his spirited solo after the Thodi krti. Over seven minutes, commencing with a conventional chatusram, he soon went into the other jatis with charming gait.
Gopalakrishna Bharati's song ‘Irakkam Varaamal Ponadenna Kaaranam,’ in Behag never fails to produce a lump in the listener's throat. Delivered by Ishwar at a deep, slow pace, it stirred the heart. As if in response to the composer's agony came the gushing Thiruppugazh (‘Niraimatimukham-Oliyaaga,’ Hamsanandi) after this, rushing to the devotee's succour!
What made Vignesh Ishwar's concert enjoyable was the fact that he patently loved every note, tune and song that he sang, without diluting his effort with the distraction of striving to ‘achieve.’