Nisha Rajagopalan’s concert moved seamlessly across composers and bhakti-laden kritis

Parthasarathy Swami Sabha’s Hanumath Jayanthi concert featured Nisha Rajagopalan, who fittingly chose a Hanuman kriti and stuti to begin and conclude her concert. The programme moved from Gopalakrishna Bharati through Ponniah Pillai, to Mysore Vasudevachar and Papanasam Sivan, and further to Banudasa and Tulsidas, with the foundational presence of Tyagaraja and Muthuswami Dikshitar anchoring the repertoire. The opening stretch reflected Nisha’s open-throated, expansive vocal style. A virutham on Hayagriva (‘Gyananandamayam’), followed by ‘Buddhir balam’ on Anjaneya, both in Nattai, set a purposeful tone. This led to Dikshitar’s ‘Pavanatmaja aagaccha’, where the raga’s assertive contours were clearly delineated. The kalpanaswaras found sensitive reinforcement in H.N. Bhaskar’s violin, while the mridangam-kanjira pairing of J. Vaidhyanathan and S. Sunil Kumar reflected measured coordination. Nisha Rajagopalan with H.N. Bhaskar (violin), J. Vaidhyanathan (mridangam) and S. Sunil Kumar (kanjira). | Photo Credit: RAGHUNATHAN SR Following ‘Aadiya paada darisanam’ in Darbar by Gopalakrishna Bharati, the programme turned to ‘Ninne nammithi’ by Mysore Vasudevachar in Simhendramadhyamam. The kriti was introduced with a brief alapana, after which the niraval and kalpanaswaras at ‘Pannagendra sayana’ unfolded with notable momentum. Contrasting the vigour of Simhendramadhyamam, the choice of Nilambari introduced a rakti-laden repose. ‘Amba nilambari’ by Ponniah Pillai was rendered with measured intent - fleeting breath interruptions did little to impede the musical arc. The mridangam-kanjira partnership was well-calibrated, complemented by a violin accompaniment that remained understated and elegant. The transition to the main piece was shaped by Papanasam Sivan’s ‘Nambi kettavar’ in Hindolam, rendered in a brisk tempo. The focus then shifted to Kedaragowla through Tyagaraja’s ‘Tulasi bilva’, framed by a succinct alapana, niraval at ‘karunato’, and neatly-articulated kalpanaswaras. This led to a neat and measured tani avartanam, where aesthetic sollukattu choices took precedence over rhythmic complexity. A palpable shift in mood followed with Banudasa’s abhang ‘Vrindhavani venu’ in Bhimplas, after which Tulsidas’s ‘Hanuman Chalisa’ emerged as the emotional fulcrum of the evening.The audience responded with involvement, lending the segment a collective resonance. Published - December 26, 2025 01:49 pm IST

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