Shertalai Renganatha Sharma offered a boquet of rare compositions by Muthuswami Dikshitar

Shertalai Renganatha Sharma with B.U. Ganesh Prasad (violin), and Shertalai R. Anantakrishnan (mridangam) at the Veenavadhini Dikshitar utsavam held on April 29, 2023, at Arkay Convention Center, Mylapore.
| Photo Credit: SRINATH M

Shertallay K.N. Renganatha Sharma distinguished himself by adhering a traditional format during his performance at the annual Dikshitar Utsavam, hosted by the Veenavadini Sampradaya Sangit Trust, founded by veena artistes Jeyaraaj and Jaysri, who belong to the shishya parampara of Muthuswami Dikshitar.

Throughout the concert, Renganatha Sharma’s diligent presentation and choice of compositions, devoid of any tricks, were unwavering factors. He treated two ragas, Yamunakalyani and Thodi, with elaborate alapana, detailed niravals and kalpanaswaras in both magnificent compositions.

Grand and subtle

In ‘Sri subrahmanyo maam rakshatu’ (Thodi), Renganatha Sharma adeptly highlighted the grandness and subtleties of the piece. Building up Thodi in multiple layers with long karvais, his rendering of the composition was an earnest effort to highlight the composer’s mood. Whether it was the imperceptible swarakshara phrase in the anupallavi line ‘Bhasamana’ or the niraval at the exalted phrase ‘Shata koti bhaskara’ in the charanam, his rendition remained true to classicism.

While the Yamunakalyani alapana was breezy, ‘Jambupathe’, a magnificent yet graceful composition, would have been best as a standalone piece. The niraval at ‘Sarvajiva dayakara’ felt experimental rather than an immersive experience the kriti naturally lends itself to. The kalpanaswaras in slow tempo had obvious congruity to Kalyani at some points, though the traces of Hindustani style were enjoyable.

Renganatha Sharma included a few rarely heard creations of Dikshitar, such as the invocatory ‘Sri ganeshatparam’ in raga Ardradesi, and a brief and gentle ‘Sharavathi thata vasini’ in raga Sharavathi, anchored between the two major kritis. He also sang ‘Tyagarajaya namaste’ in Begada, with measured medium-paced swaras at the madhyama kala sahitya lines ‘Sakalagama mantra tantra.’

Played with competence

Violinist B.U. Ganesh Prasad’s essay of Yamunakalyani was breezy, and Thodi had its authentic syllables. He provided competent responses in tune with the flow and style of the vocalist during the kalpanaswara segments.

Rupaka tala dominated the concert in various gatis. Shertalai R. Ananthakrishnan provided the rhythmic support ideal for Dikshitar’s kritis, which are lyrically beautiful and require cognitive space to be fully appreciated. During the tani avartanam he delivered a dashing finale in adi talam.

For the post-tani session, Renganatha Sharma chose ‘Abhayambikayah anyam na jane’ in Kedaragowla, which encompasses the trotting madhyama kala charanam fitting seamlessly in khanda chapu. ‘Rama rama kali kalusha virama’, commonly attributed to Dikshitar in the raga Ramakali, was a pleasing piece to conclude the concert.

Such exclusive festivals are a welcome addition to regular concerts, as they bring many unfamiliar and unique compositions to the concert stage.