Vivek Sathasivam’s beautiful raga communications and interesting fantasies created an impact
Vivek Sathasivam deserves praise for his confident approach to Manodharma in the performance of Raag Alapana and Swarakalpana. While his little alapana was graceful, his swara phrases for a Kannada raga masterpiece had fervor and tempo with a change in nadai.
He started the concert with Maharaja Jayachamarajendra Wodeyar’s ‘Kamalambike Mamava’ at Natai. Sahitya in several charanam lines along with the Madhyam Kalam in Anupalavi set the tone for a lively concert. The singer composed it with Pallavi as well as imagination in the phrase ‘nata raga priya’.
After a brief sketch of a Kannada raga, he took on Muthuswamy Dikshit’s rarely heard composition ‘Palayamam Parvatisa’. Thoughtfully composed with lines from the Umamaheswara Stotram, ‘Namah Shivabhayam’, which alludes to the unity of Shiva and Parvati, he presented the work with chittaswaram and paired with imaginative phrases, as well as interesting changes in gait.
Vivek is also to be commended for selecting Kriti for the one-hour concert. His composed rendition of Arunachala Kavirayar’s ‘Eppadi Manam Thunindhadho’ in Hussaini made an impressive impact with the obvious. GN Balasubramaniam’s Saranga Tarangini composition, a quick and clean ‘Saamana Rahaate’, with its built-in short Chittaswaram.
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In a fairly detailed explanation of the bit with the gamut-rich communications, he showed good ability. In the formation of accompaniments, clarity can be heard in the phrases characteristic of harp playing. The charanam line ‘Rama Shree Tyagaraja’ and the series of Kalpanasvaras in Niraval had a balance of plain and brigand notes and a sprinkling of rhythmic finesse.
On the violin, Sandeep Ramachandran diligently followed the compositions, vocals and tempo variations. His slightly shorter version was crisp and fast. GS Nagaraj on Mridangam picked up an entertaining segment nadai in Tani Avatarnam and presented an entertaining session.
The concert culminated with Mayuram Vishwanath Shastri’s ‘Bharat Empire Sikhi’ in the country. The flow of ideas and a good Pantram appreciated Vivek’s performance. It’s also important that he focus on using the range of his voice without exploiting it’s potential.
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