A little more spark would have added appeal to Venkatanagarajan’s renditions

Venkata Nagarajan’s rendition needs that extra spark

Among the younger talents with a concert-ready style is Venkatanagarajan, who shows good grooming. His concert for the Indian Fine Arts Society showed musical poise and self-assurance. On certain aspects, however, he is perhaps in the work-in-progress category as the short concert lost some purpose at some point.

The Nattai varnam (‘Ela danu’, M. Balamuralikrishna) in two speeds was a confident opening rendition. ‘Chalamelara Saketharama’ (Margahindolam, Tyagaraja) in a vibrant kalapramana with swaras pitched Venkatanagarajan’s music at a competent level. He gave a good exhibition of Asaveri raga with the kriti, ‘Janakaja sametha’ (Tyagaraja, Rupakam). The niraval at ‘Syamasundaranga’ was skillful, bringing out some laya competencies as well.

The brightest spot in the concert was the Ritigowlai piece. In the raga alapana, Venkatanagarajan ensured that all the raga lakshana elements were brought out in the short duration. One expected a different rhythmic pattern (like a Misra Chapu) but Venkatanagarajan chose Tyagaraja’s ‘Cheraravathe’ (Adi) that was rendered well, but the opportunity to change course was lost. The swara korvais of both the vocalist and the violinist were elegant but not complex.

Mayamalavagowla (‘Merusamana’, Tyagaraja) was intended to be the centerpiece of the concert. The raga alapana was placid. The kriti rendition was adequate but travelled tamely without giving a boost to the proceedings. ‘Yarendru raghavanai’ (Arunachalakavi, Yadukula Kamboji, Misra Chapu) was bright and evocative, but, perhaps, deserved a place in the earlier part of the concert.

Violinist Karaikal Venkatasubramaniam accompanied appropriately at various moments, but was tentative in Asaveri. Mridangist M. S. Venkatasubramaniam has a promising style and anticipated the laya moves of the vocalist. His tani, a tad disproportionately long, had a good structure. Venkatanagarajan’s voice has strength and tone and he will need to find the finesse required for sensitive singing. His full range of capabilities could not be assessed as the concert turned out to be a uni-tempo one, with minimum kalapramana variations. A brisk concert is what the audience generally likes, but not just that. They need something more too. Venkatanagarajan’s traditional bent, however, must be appreciated and this will enable him to progress well.