Traditionally used in ritualistic processions, the nagaswaram and tavil were meant to uplift, energise, and command attention—their thundering beats setting the spiritual tone. Today, when played in concert halls, they lend performances a majestic and spirited start, stirring both heart and stage. Fittingly, Pazhayaseevaram G Kalidas (nagaswaram) and Adyar G Silambarasan (tavil) provided a grand opening at the third edition of Vaggeyakara Bharatham, an initiative by Natyarangam and Nrityopasana that brought together dance exponent Urmila Satyanarayana and noted violinist Lalgudi Vijayalakshmi.

The Mallari in panchagana ragamalika, composed by Kuzhitalai Pichaiyapillai and Valangaiman Shanmugasundaram Pillai, set to sankeerna Ata tala, began with promise. Although the group initially struggled with synchrony, they found their rhythm as the performance progressed.

A kriti composed by Vijayalakshmi in praise of Narthana Ganapathy in raga Natakurinji saw four dancers come together. It took a moment to realise that one among the four was Urmila herself with the zest and energy of youthful passion! The presentation that comprised single unit compositions  - some known and some lesser known, were explained in detail by Vijaylakshmi. And her preludes before the songs, set the moods perfectly. It did not really matter that the songs were independent of each other.

To see Urmila change into (literally) the disguise of an old man (Siva) in the varnam that followed, was fascinating. The varnam - En manam niraindavar in Keeravani, was composed by Lalguidi G Jayaraman, for the production Jaya jaya devi. Vijaylakshmi’s brought forth drama and devotion adding her individual musicality as and when there was scope, without superimposing herself on the dancers.

Revolving around Parvathy (Sowjanya Suresh) speaking to her sakis (Aishwarya Subbaraman and Akhila Balasubramaniam) about her love for Thillai Nataraja, when Siva (Urmila Sathyanarayan) in disguise of an old man appears to dissuade her from marrying.

What stole the evening are the following two pieces post the varnam. A javali, Sarasamulade enduku in Kapi performed by her student Akila and the deep emotional Tyagaraja composition -Nidhi chaala sukama in raga Kalyani by Urmila. Two completely contrasting pieces that, together, elevated the evening’s experience. After all, the true essence of Indian dance lies in abhinaya!

Poochi Srinivasa Iyengar’s composition, with its catchy atitha eduppu, was mirrored in the dancer’s quick, provocative expressions of “this is not the right time.” The emotional layers — from the newly-wedded nayika’s desire to be with her beloved to her decision to send him away — were aptly portrayed and thoroughly enjoyable. Rising to the demands of the composition, Vijayalakshmi brought out the meditative mood of Kapi with the nuance of sliced mango sprinkled with chilli powder and salt — sweet at first, then suddenly tangy and playful. Much like the piece itself: layered, teasing, and delightfully flirtatious.

On the other hand, Urmila, drawing on decades of experience, portrayed the contrast between worldly pleasures and divine joy — the paradox between material wealth and the surrender found in devotion and singing the glories of Sri Rama — with such depth was moving. With each gesture and glance, she juxtaposed the fleeting with the eternal, prompting the audience to reflect on what truly nourishes the soul.

There was also a dasarnam mella mella bandane in Mohanam that depicted gopikas complaining to Yashoda about the pranks played by Krishna. The concert concluded with a Tanjore Quartet tillana (Ponnayya) in misra Chapu in Behag with short korvais followed by an energetic hailing of Vittala.

Guru Bharadwaaj ably accompanied on the mridangam, with Sujith Naik on the flute. Amidst the boisterous sollukattus rendered by Sai Kripa Prasanna, the vocal renditions by Bhavya Hari and Prithvi Harish showed promise but also revealed the inexperience of young artistes — a contrast to the otherwise seasoned ensemble. Nevertheless, the production held the audience’s attention in a large venue like Narada Gana Sabha, leaving them with moments to cherish.