By Asmita Padmanabhan

Sangita Kalanidhi Sanjay Subrahmanyan’s concert at the Academy opened to an almost full house, with eager anticipation. Accompanied by vidwans S. Varadarajan on the violin, Neyveli B. Venkatesh on the mridangam, and Anirudh Athreya on the khanjira, the ‘Men in White’ appeared ready to captivate the evening.

Sanjay began with a Malavi varnam which he followed with Deva Jagannatha in Hamsadhwani, offering interesting variations in his interpretation of the raga. His kalpana swarams were engaging and added a layer of creativity to the performance. However, the sound occasionally became loud and fluctuated. Varadarajan’s rendition of Hamsadhwani was soothing and complemented Sanjay’s dynamic style, while Venkatesh’s aridhis were electrifying and powerful. As is typical of Sanjay's concerts, this performance was rich with many lesser-known compositions, particularly in Tamil. Kudos to him for consistently unearthing and presenting hidden gems from lesser-explored composers, adding a unique and enriching dimension to his repertoire, and that of ours as rasikas. Andolika Vahanane in Anandabhairavi was also much enjoyed by the audience.

Sanjay’s Bilahari was mesmerising, filled with vibrant, colourful phrases that flowed without the traditional alapana structure. He brought his unique style, with a distinctive set of syllables (other than the usual tha-ri-na) and acoustic ideas, making his rendition unmistakably his own. Bilahari, with its lively character, beautifully complemented his aesthetic approach, creating moments of joy and excitement. The raga nestled perfectly within the concert, adding a delightful and dynamic layer to the performance. Patnam Subramania Iyer’s Paridana was an absolute burst of energy. While it's common to have impactful punches that elevate the kalpana swarams, Sanjay extended this dynamic approach to the niraval as well.

He then presented Kallaarkkum Kattravarkum from Thiruarutpa in Pushpalathika, a piece he tuned himself in collaboration with musician Sean Roldan. This rendition, slower and more melodic, provided a gentle contrast to the rest of the concert. The main raga of the day was Todi, which Sanjay elaborated on extensively. The phrases around the mel shadjam stood out prominently, showcasing his unique vocal technique—a mastery that enables him to utilise his range and the microphone effectively. Varadarajan also delivered an excellent Todi, filled with traditional phrases that complemented Sanjay’s rendition. The main piece, Amba Nadu, is a beautiful composition, and Sanjay’s distinctive style enhanced it further. The mel kaala niraval and the kalpana swaram koraippu were particularly noteworthy. During the koraippu in the Panchamam, Sanjay performed striking phrases - in some cases he even sang only one note throughout before landing at P, a feat that only he can execute with such mastery. In the tani avartanam, Neyveli Venkatesh's first round, exclusively on the thoppi, was captivating. After Anirudh’s thrilling khanjira round, returning to Venkatesh and experiencing the rich nadam of the mridangam’s right side was a delightful treat. Overall, the tani avartanam was thoroughly enjoyed by the audience.

Sanjay immediately transitioned into the ragam-tanam-pallavi, beginning with a brief Behag alapana filled with amusing phrases and innovative prayogams that drew appreciative ‘ahas’ from the audience. Varadarajan matched his brilliance, delivering an equally compelling response. Following the tanam and pallavi, Sanjay embarked on a series of ragamalika swaras, with Sindhu Bhairavi standing out prominently, captivating the listeners with its charm.

Aaru Hitavaru in Natabhairavi that followed was absolutely soulful. Venkatesh’s and Anirudh’s silences and gentle playing made a lot of difference. Sanjay wrapped up the concert with Kaakkai Chiraginile in Desh that was well enjoyed by the audience.

 (The author is a freelance writer and a student of Carnatic music)