Chennai, India – The year-long monthly series ‘Ekaika Raga Kritis of Tyagaraja’, curated and launched by violin maestro A. Kanyakumari, concluded with a memorable vocal recital by Delhi P. Sunderrajan. Over the preceding 12 editions at the Arkay Convention Center, the series had systematically exhausted about a hundred kritis—compositions solitary in their ragas—leaving Sunderrajan with the challenge of a nearly empty repertoire. Yet the violinist-turned-vocalist transformed this constraint into an opportunity, presenting a recital that focused on depth of interpretation rather than novelty of selection.
Accompanied by M.A. Sundareswaran on violin, Tiruvarur Vaidyanathan on mridangam, and K.V. Gopalakrishnan on kanjira, Sunderrajan presented nine compositions, keeping manodharma to the essentials. The concert began with ‘Padavi ni sadbhaktiyu’ in Salagabhairavi, followed by a sublime alapana of Bhushavali, a shadava-sampurna raga derived from Vachaspathi. The rendition of ‘Tanamidane’ in Bhushavali, where Tyagaraja owns up to his faults, was a highlight, along with the Vasanthabhairavi kriti ‘Nee dayarada’ and the rare Swarabhushani raga composition ‘Varadaraja ninnu kori.’
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Subhapantuvarali ushered in a reflective mood with ‘Ennalu urake,’ a kriti expressing mock indignation and loving confrontation. The niraval at ‘Satatamu tyagaraju nammaga leda?’ sustained the emotional arc beautifully, with ensuing swara passages sparkling with seamless team sync. Other compositions included ‘Manavyala kincha ratade’ in Nalinakanti, ‘Evvare Ramayya’ in Gangeyabhushani, and ‘Raga sudha rasa’ in Andolika, which proved true to the raga’s name. Vaidyanathan’s tani avartanam alongside Gopalakrishnan was crisp and lively. The concert concluded with ‘Kamalaptakula’ in Brindavana Saranga and ‘Pavamana’ as the mangalam, marking a fitting end to the series.
