65th Heritage Music Festival at 8th Cross Ganesha Pandal
Vidwan T.M. Krishna, the perennial crowd-puller, performs every year at Sri Prasanna Vidya Ganapathi Mahotsava Charitable Trust (SPVGMC Trust) Ganapathi Music Festival. A popular vocalist, activist, writer, lecturer and thinker, he never fails to draw his devoted listeners.
Known for his flawless music, soulful renderings and deeply emotive alapanas, Krishna continues to explore new possibilities in both the style and substance of his concerts. These numerous innovations have earned him both appreciation and criticism, but they have also contributed to making each of his concerts an event of keen anticipation.
He was accompanied by Vidwan Trivandrum Sampath on violin, Vidwan B. Sivaraman on mridanga and Vidwan Guruprasad on ghata on Sept. 18.
The concert opened with an Atta Tala varna in Kambodhi, presented in a majestic style. As expected, Krishna had a surprise in store, introducing an elaborate anupallavi at ‘Niratamu.’ His full-throated singing immediately captured the attention of the rasikas. The brisk kalpanaswaras that followed created the perfect musical atmosphere for the concert ahead. A short taniavartanam followed, adding further sparkle to the opening segment.
What came next was a veritable musical treat. Krishna’s expansive alapana of Yamuna Kalyani, touched by the flavour of Hindustani music, mesmerised the listeners. Soft, delicate phrases cascaded one after another, creating an atmosphere of exquisite beauty. Muthuswami Dikshitar’s ‘Jambupate’ flowed gently without percussion accompaniment, producing a spellbinding effect.
After Tyagaraja’s ‘Chinnanadena,’ in the raga Kalanidhi, Krishna launched into an alapana of Dhanyasi. The leisurely unfolding of Dhanyasi brought out its every nuance and subtlety. He seemed to add one flower after another to create a beautiful musical bouquet. Every sangati was steeped in classicism, reflecting a mature and assured manodharma.
Shyama Shastri’s ‘Meenalochani Brova’ proved to be an apt choice. The detailed neraval at ‘Bhavani Chandrakala Dharini Nirada Veni’ was rendered with deep bhakti bhava and emotional intensity.
The main raga of the concert was Bhegaḍe. Krishna handled this vakra raga with considerable scholarship and sensitivity, bringing out its distinctive nuances and emotional character without losing its essential contours. The expansive alapana was sumptuous and deeply satisfying.
Sampath complemented him beautifully with his melodious bowing and made a substantial contribution throughout the concert. Tyagaraja’s majestic kriti ‘Nadopasana’ was an ideal choice for Bhagaḍe and Krishna did full justice to it. The kriti blossomed magnificently under his treatment. The musical dialogue between Krishna and Sampath during the kalpanaswaras was particularly enjoyable, with each artiste responding sensitively to the other’s ideas.
The taniavartanam by Sivaraman and Guruprasad was another highlight. Their lively rhythmic patterns and spirited exchanges made the percussion segment both engaging and enjoyable.
The concert concluded with Gopalakrishna Bharati’s ‘Eppo Varuvaro’ in Jonpuri, followed by Muthuswami Dikshitar’s ‘Maye Tvam Yahi Mam Pahi’ in Tarangini. Both compositions provided a fitting finale to an evening that was rich in melody, classicism, imagination and emotional depth. It was, ultimately, a soulful concert in which Krishna’s mature artistry and distinctive musical personality came together beautifully, supported by three accomplished accompanists who enriched the presentation at every turn.
—Dr. Rama V. Bennur
This post was published on September 30, 2026 7:30 pm