A Symphony of Soul: Sriranjani Tapasya Santhanagopalan's Thoughtful Carnatic Masterclass

Ah, there's just something special about a Carnatic concert that truly hits all the right notes, isn't there? And when it does, you can feel it, deep down. Such was the recent performance by Sriranjani Tapasya Santhanagopalan at the Arkay Convention Centre, part of Sri Krishna Gana Sabha’s 68th annual art festival. From the moment she took the stage, it was clear this was going to be an evening where every element—the raga, the rhythm, and the chosen pieces—was in exquisite, thoughtful alignment.

What struck me immediately, and consistently throughout the evening, was how melody was absolutely paramount. Sriranjani didn't just sing notes; she unfurled ragas, allowing their very essence to breathe and expand. It wasn't about flashy theatrics; it was about depth, sensitivity, and a clear understanding of the tradition. She's got this incredible command over kalpana swaras, too, which just flowed with a spontaneous brilliance, yet always remained rooted in the raga's true character. You could really sense the deliberate planning that went into the concert, focusing on core kritis that truly allowed for a comprehensive exploration of the manodharma sangeetham elements.

The concert, I must say, sprang to life with a brisk rendition of Tyagaraja’s 'Sarasiruhanana' in Nata. A perfect opener, energetic and inviting! But then, she really drew us in with the delicate, yet profound, Reetigowla. She chose Subbaraya Sastri's 'Janani Ninuvina,' navigating its intricate contours with such sensitivity. The niraval, especially at 'Sakala tatva,' was just poignant, resonating deeply. What a lovely way to showcase the raga's emotional landscape.

And then came the main event, the centrepiece, a stunning exploration of Varali through Tyagaraja’s 'Kanakana Ruchira.' Her raga alapana of Varali was, quite simply, powerful. It was steeped in tradition, delivered with a gravitas that felt almost spiritual, evoking the raga's inherent weight and majesty. The way she built it, note by note, phrase by phrase, was a masterclass in itself. When it came to the kalpanaswarams, they were dazzling, intricate yet never losing the raga's identity. And the niraval at 'Kapata nataka' – truly captivating. It felt like she was peeling back layers, revealing new facets with every phrase.

Interestingly, Sriranjani returned to Reetigowla later in the concert, presenting Tyagaraja’s 'Nannu Vidachi.' This wasn't just a repeat; it was a deeper dive, showing her remarkable ability to explore a raga's different moods and expressions within a single performance. It highlighted her versatility and, dare I say, her sheer passion for the intricacies of each raga.

Of course, no Carnatic concert is complete without stellar accompaniment, and Sriranjani was blessed with a fantastic ensemble. Nagai Sriram on the violin was just brilliant. His alapana of Varali, in particular, was truly memorable, echoing Sriranjani’s vocal rendition with such finesse and artistry. And the rhythmic support from Delhi Sairam on the mridangam and Anirudh Athreya on the kanjira? Absolutely energetic and perfectly calibrated. They didn't just keep time; they added layers of vibrancy and excitement, responding to every nuance of the main artist. Their tani avarthanam was, as expected, a powerful display of rhythmic wizardry.

The concert concluded with some delightful lighter pieces, including Purandaradasa's 'Jagadoddharana' in Kapi – a lovely, evocative choice – and a spirited Tillana in Shankarabharanam by Lalgudi G Jayaraman. It was a well-rounded programme, leaving the audience with a profound sense of musical satisfaction. Sriranjani Tapasya Santhanagopalan truly delivered an evening where raga, rhythm, and repertoire didn't just coexist; they conversed beautifully, creating a resonant and deeply human musical experience.