Sriranjani Santhanagopalan brought out the myriad shades of Ritigowla in her alapana

Sriranjani Santhanagoplan with Kamalakiran Vinjamuri (violin), K. Sai Giridhar (mridangam) and N. Guruprasad (ghatam).
| Photo Credit: JOTHI RAMALINGAM B

Recognising opportunities amidst challenges is an art in itself, and Sriranjani Santhanagopalan demonstrated her adeptness in it. Notwithstanding a delayed start by over 10 minutes, the tamburas frequently wilting under temperature fluctuations, and capricious focus lights, the young vocalist retained her poise and presented an impressive recital at Krishna Gana Sabha.

The cumulative time loss may have nudged her towards Plan B and an experimental approach. Only one raga was chosen for elaborate exploration — and it was an enchanting Ritigowla. The niravals were notably absent. However, there was no dearth of depth or sublimity in her presentation, with Kamalakiran Vinjamuri (violin), K. Sai Giridhar (mridangam) and N. Guruprasad (ghatam) rallying around with precision and panache.

Sriranjani Santhanagoplan performing at Krishna Gana Sabha’s 2024 Margazhi festival.
| Photo Credit:
JOTHI RAMALINGAM B

The Behag varnam ‘Vanajaksha’ provided a bright start. A brief sketch of Dhenuka led to ‘Teliyaleru Rama’. In this kriti, Tyagaraja bemoans humanity’s ignorance of the path of devotion and its entanglement in worldly pursuits. Sriranjani’s rendition transformed the composer’s anguish into a feast of melody with many facets coming together — the tempo, rich bhava through a tapestry of sangatis, Kamalakiran playing a perfect foil in the lower octave, and Sai Giridhar and Guruprasad’s support. In the swarakalpana segment, the nyasam (resting) on sadharana gandharam and the deft use of kakali nishadam, the two key swaras of the raga, brought out its essence. Kamalakiran’s responses were breathtaking in the lower range of the middle octave.

Sriranjani Santhanagoplan.
| Photo Credit:
JOTHI RAMALINGAM B

Another short raga alapana, this time Yamuna Kalyani, preluded ‘Nandagopala mukunda’ in which Dikshitar calls upon Krishna through his divine attributes. The languid pace allowed Sriranjani to capture the evocative tinge of the kriti. ‘Nijamarmamulanu’ by Tyagaraja and kalpanaswaras at the charanam opening ‘Sruthi saastra purana’ were zestfully rendered, and a leisurely ‘Parvati ninnu ne’ by Syama Sastri restored the balance.

Then arrived Ritigowla in all its radiance. Sriranjani delved deeply into its mandhra sthayi, and developed the raga’s edifice methodically. Kamalakiran matched the vocalist phrase for phrase in his delineation.

Subbaraya Sastri’s masterpiece ‘Janani ninnuvina’ in Misra Chapu unfolded in a majestic gait, highlighting the beauty of the composition, its famed chittaswara, and the corresponding sahitya. The swara sahitya in alternate speeds after the charanam was a delightful addition. The swara exchanges began in the first speed at ‘Tamasamu seyakane’, with phrases of languorous charm evolving into vibrant bursts in the second.

The tani avartanam saw Sai Giridhar and Guruprasad engage in an absorbing interplay of rhythmic patterns.

‘Kasturi tilakam’, a well-known shloka from Krishna Karnamrutam, leading to a Swati Tirunal bhajan ‘Aaj aaye syaam mohan’ in Suddh Sarang, Kalki’s ‘Poonkuyil koovum’ in Kapi, and a thillana by M. Balamuralikrishna in Ahirbhairav lent variety to the concluding section.