Does one even need to mention about the aesthetic grandeur of a vocal concert by an artiste like Sanjay Subramaniam? It was an exhilarating experience, particularly when the artist displayed his imaginative skill with preponderance, a true disciple of Vidwan late Calcutta Krishnamurthy indeed. But yet, one expects artistes like him known for their style of delivery, to unveil new keerthanas for public appreciation instead of treading on mostly known kritis. Otherwise, the concert becomes, yet another one in the itinerary of the artiste. Robust classicism came to the fore when he commenced with Ada Thala Varnam in Raga Pantuvarali and proceeded to render (Saketanagara) in Raga Harikambodhi of Mysore Sadasiva Rao.A suffused glow of finesse permeated, when he descended on Raga Devamanohari (Evarikai Yavataramu) of Thyagaraja in Tripuda Tala with gesticulated exuberance. While analysing the ‘avadhara of Lord Rama’ in the kriti, his expressive ‘manodharma’ was appreciable. His handling of the masterpiece of the Dikshitar (Kamalambam Bajare) with extensive Raga elaboration of Kalyani, revealed the virtuosity of his delivery. The Raga Kapi Narayani Krithi of Thyagaraja (Sarasa Samadhana), illustrated his skill to dwell expressively on the feature of aesthetics. A fine rendition of Raga Bhoopalam in Ragam Thanam Pallavi, the swara prayogas were indicative of his padandharam. Be it Desh Raga (Eththanai Kodi Inbam) or Raga Dwajavanthi Thillana, they were rendered in keeping with his style.To be precise, I returned home with a sense of unfulfilled expectation, in new kritis and fresh delivery, but it was one more concert of Sanjay Subramaniam.Nagai Sriram (violin) was his usual self, never exceeding the brief given to him while Tanjore Murugabhoopathi (Mridangam) and Kartik (Ghatam) exhibited their rhythmic prowess.
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