Among the new generation of vocalists, K.S. Vishnudev has made a space for himself as one of the most dependable singers. He sings with sangfroid and his full-throated interpretation elevates every aspect of the performance — from imaginative alapana and faithful rendition of the kritis, to creative niraval and swarakalpana. He has been steadily working to improve his repertoire and presentation.
His nearly two-and-half-hour concert at Hamsadhwani turned out to be an impressive one with the singer’s conscientious approach, including all the necessary features with no compromise on quality or tradition.
The two major ragas chosen were Kamavardhini and Nattakurinji. While the former is known for its dynamism, the latter stands out for its delicacy. But his first brief foray into raga essay was Ritigowla, and Vishnudev relied more on the vitality than sobriety of the raga. Swati Tirunal’s ‘Paripalayamam’ made for a good choice.
Wholesome treatise
The Kamavardhini treatise was wholesome with robust phrases connected well and built it up into an impressive edifice. Mysore Vasudevachar’s ‘Sankari ninne’ with niraval and swaras at ‘Pankajakshi nidu mahima’ and swara sallies with violinist Sayee Rakshit were brilliant.
Vishnudev Namboothiri. | Photo Credit: M. KARUNAKARAN/ The Hindu Archives
Nattakurinji always offers ample scope for the artiste to paint a beautiful picture of the raga. Vishnudev’s rendition had a slow and steady start. He later navigated through well-conceived vibrant phrases and also embellished them at the right juncture to highlight the charm of the raga . Tyagaraja’s ‘Manasu vishaya nada’ was his choice and Vishnudev appended the kriti with strings of swarakalpana. The finale came with notes centred on the madhyama.
The other pieces were ‘Ninnukori’ (Vasantha varnam), ‘Sri vathapi ganapathiye’ in Sahana (Papanasam Sivan), ‘Parvathi ninnu’ in Kalgada (Syama Sastri), ‘Panimathi mukhi’ padam in Ahiri (Swati Tirunal), ‘Sri Madhava’ in Behag (Papanasam Sivan) and ‘Bhaja bhaja manasa’ in Sindhubhairavi (Swati Tirunal).
Sayee Rakshit’s contribution to the concert was noteworthy. He followed the vocalist with confidence and conviction and his responses in Kamavardhini and Nattakurinji were quite impressive.
Trivandrum Balaji on the mridangam and Sai Subramaniam on the morsing added rhythmic appeal, with their well-structured and exhaustive tani avarthanam. further enhancing it.
The Chennai-based reviewer writes on Carnatic music.
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