Nanditha Kannan’s live performance was proof of her coaching and lineage

Nanditha Kannan with Chinmayi on the violin and Srinivasamurthy on the mridangam.
| Photograph Credit score: Particular Association

In a technologically pushed world, it’s heartening to see a number of rising younger artistes studying instantly from gurus. Watching Nanditha Kannan’s vocal recital for Pushkaram Belief not too long ago, I assumed concerning the care and a focus her guru, violin exponent R.Okay. Shriramkumar, would have bestowed upon her.  Nanditha’s exhaustive Kalyani essay, previous considered one of Dikshitar’s masterpieces ‘Bhajare re chittha balambikam’, was indicative of her coaching and strategy. Her inventive instincts got here to the fore within the Madhya Sthayi phrases. This composition in Misra Chapu, on the goddess at Vaithiswaran koil, was the spotlight of the live performance and is within the second Vibhakti. Many names of Devi that Dikshitar has used on this kriti are  from Lalitha Sahasranamam. The devotional bhava of the kriti was in full bloom in  the niraval and swaraprastara at ‘Devim sakthi bijodbhava’.

The Begada alapana by Nanditha, who belongs to Veena Sabesa Iyer’s lineage, had an previous world allure about it. She succeeded in interweaving melodic patterns and bringing out its essence. She took up the fourth of Dikshitar’s Tyagaraja Vibhakthi kritis, ‘Tyagarajaya namaste’. She rendered swaras on the pallavi. 

Nanditha commenced the live performance with Tiruvotriyur Thiyagaiyer’s Sahana varnam ‘Karunimpa’, adopted by a fast-paced rendering of  ‘Vadera deivamu manasa’ (Panthuvarali) by Tyagaraja.  Niraval and swaras have been on the third charanam, ‘Dhaatru vinutudaina’. 

Chintamani,  is an attractive raga which may immediately create the atmosphere of kaarunya (compassion). Syama Sastri, one of many Trinity, selected this distinctive raga for his composition ‘Devi brova Samayamide’. And, Nanditha provided an emotive rendering of it. She then sang Papanasam Sivan’s ‘Kumaran thaal  paninthe thuthi’ in Yadukulakambhoji.

Nanditha’s tukkada line up was spectacular, and so was her singing of those items. No marvel, she had received the primary prize in Thukkadas (vocal) in The Hindu Margazhi Classical Music Competitors in 2021. On this live performance, she offered 4 pasurams commencing with ‘Maanikkam katti vayiram idai katti’ from Periya Thirumozhi in a Ragamalika, comprising Neelambari, Kamas, Hamir Kalyani and Suruti. Her therapy of the shabad ‘Thakur tum sharanahi aayo’ within the Misra Nadai was apt. M.S. Subbulakshmi used to sing this at her concert events. 

Nanditha concluded her recital with two songs by Subramania Bharati, ‘Nenjukku neethiyum’ and ‘Bharatha dessmenru peyar solluvar’.

Nanditha’s co-artistes of the night succeeded in enriching the live performance. On the violin was the younger C.S. Chinmayi. She is the disciple and daughter of C.N. Srinivasamurthy, who in flip was a scholar of violin maestro Lalgudi Jayaraman. Chinmayi is an in a position accompanist. On the mridangam, one other teen A. Vamsidara, disciple of Poongulam Ramakrishnan, was an asset to the vocalist. His Thani in Misra Chapu, with Tisra nadai and a brief chatusra-tisra mixture, was effectively executed. Total, the younger trio provided a healthful live performance.