Akshay Padmanabhan’s ‘Thaaye Dayapari’ focussed on the divine feminine

Akshay Padmanabhan's 'Thaaye Dayapari' concert included exquisite kritis that celebrate the divine feminine

Some compositions are so awe-striking they leave an indelible imprint on the mind. One such masterpiece is Lalgudi G. Jayaraman’s ‘Angayarkanni’, a Navarasa Varnam that portrays nine emotions, akin to those mentioned in the Natya Shastra, in as many ragas. Primarily designed for dance recitals, its exquisite lyrics, appropriate ragas and the seamless fusion with rhythmic cadences (poruthams, the composer’s insignia) combine to make it a catchy opening choice in Carnatic concerts as well.

Akshay Padmanabhan, in his thematic recital ‘Thaaye Dayapari’ at Bharatiya Vidya Bhavan’s Tamizh Isai Vizha, opened with this varnam. It celebrates Goddess Meenakshi’s responses to Shiva’s Thiruvilaiyadalgal (divine play-acts) and extols her own virtues. The nine ragas and the corresponding sentiments are Bilahari: Anandam (happiness), Husseni: Sringaram (love), Valaji: Adbhutam (wonderment), Saranga: Hasyam (laughter), Sucharitra: Bheebatsam (disgust), Atana: Roudram (anger), Rasikapriya: Bhayanakam (fear), Sahana: Karunyam (compassion), and Nadanamakriya: Santham (peace).

Maintaining the momentum, Akshay presented a brief alapana of Jaganmohini segueing into Gopalakrishna Bharati’s ‘Sivakamasundari’ in Rupakam. The song, predominantly set in madhyama kala, is apt for kalpanaswaras, and the vocalist made a good account of himself, rendering the same at the pallavi opening. Papanasam Sivan’s seldom-heard ‘Vaani arul purivaay’ in Dhanyasi was sung next. The pleasing chittaswaram enhanced the appeal of the song that seeks the blessings of Saraswati.

When Akshay took up Begada, his voice had settled into a better space, providing a polished sheen to the raga rendition. Expectedly, he sang ‘Kadaikkan vaithu’ by Ramaswami Sivan in Misra Chapu. The niraval and swara passages at the charanam line ‘Santatam pugazhndu’ were engaging as the accompanists M. Vijay (violin), B. Sivaraman (mridangam) and K.R. Sivaramakrishna (kanjira) complemented Akshay well.

The popular ‘Thaaye tripurasundari’ (Suddha Saveri-Khanda Chapu) by Periyasami Thooran was rendered with zest. The long and iconic chittaswaram served as perfect flourish to the ode dedicated to the goddess of Thiruvanmiyur.

The main number of the evening was Papanasam Sivan’s ‘Thaaye Bhairaviye’, and Akshay reserved his best for it. He unfolded Bhairavi with measured grace, employing the gamakas with precision, and vividly brought out the devotional fervour of the song. The niraval and swarakalpana exchanges were well-articulated.

Akshay added colour to the concert with another ragamalika. ‘Nee thaan thunai neelambari’, composed by N.S. Chidambaram, has been set in eight ragas whose names denote the various forms of Devi — Nilambari, Vasanthabhairavi, Gowrimanohari, Saraswati, Sriranjani, Mohanakalyani, Durga and Jyotiswarupini. The concert concluded with Subramania Bharati’s ‘Thedi unai saran adaindhen’ in Sindhubhairavi.