K.S. Vishnudev’s recent vocal recital at Hamsadhwani stood as a testament to his distinguished musical acumen and expansive repertoire, delivering a truly special and memorable experience for the discerning connoisseurs present. His performance offered a wealth of artistic takeaways, further solidifying his reputation. Providing stellar accompaniment were Sruthi Sarathy on the violin, alongside the seasoned veterans K.V. Prasad on the mridangam and B.S. Purushotham on the kanjira.
The concert commenced with a spirited rendition of Papanasam Sivan’s ‘Karpaga manohara’ in raga Malayamarutham. Vishnudev immediately set an energetic tone, presenting an extended kalpanaswara segment replete with intricate permutations and combinations, consistently resolving on dhaivatam. This vibrant opening immediately elevated audience expectations. Following this lively start, the mood gracefully shifted to the contemplative and solemn strains of Tyagaraja’s ‘Rama nee samanamevaru’ in Karaharapriya. Here, the niraval on the evocative line ‘Paluka palukulaku’ overflowed with profound raga bhava, captivating listeners with its emotional depth.
After a precise rendition of Dikshitar’s ‘Shri matrubhutam’ in raga Kannada, Vishnudev embarked on an exquisitely rendered Hamsanandi alapana. His raga exploration was a masterclass in emotional nuance and aesthetic framing, revealing impeccable melodic phrases. The chosen kriti for this segment was Swati Tirunal’s ‘Pahi jagajjanani’, where the swaras woven around ‘Saarasakrutanilaye’ in the charanam were notably innovative, concluding gracefully on nishadam.
The undisputed centrepiece of the evening was a magnificent exposition of Mohanam, a raga renowned for its boundless opportunities for elaboration. Vishnudev navigated its expansive landscape with impressive agility, skillfully employing a range of brigas and karvais at precisely the right moments. For this central piece, the vocalist selected Papanasam Sivan’s widely cherished kriti, ‘Kapali’, focusing on its poignant pallavi.
Sruthi Sarathy’s violin accompaniment was exceptional, mirroring the vocalist’s complex musical challenges with her own impressive raga explorations and keenly perceptive swara responses. The tani avartanam, a highlight for rhythm enthusiasts, was characterized by a delightful interplay of laya, creating a sonically pleasing exchange between K.V. Prasad and B. Purushotham. Their combined percussive artistry demonstrated an impressive dynamic range, transitioning seamlessly from subtle, delicate touches to powerful, resonant beats.
Vishnudev’s judicious selection of ragas and compositions stands as one of his defining strengths, a quality powerfully showcased in the concert’s concluding segment. This final portion featured a curated collection of less frequently heard gems, including Jayachamaraja Wodeyar’s ‘Siva siva bho’ in Naadanaamakriya, Papanasam Sivan’s ‘Ramanai bhajiththal’ in Maund, and Purandaradasa’s ‘Chandrachooda siva sankara parvathi’ in Darbari Kanada, leaving the audience with a lasting impression of artistic breadth and originality.
