On the last day of the music series of Bhagini Sangeethotsava, well-known vocalist T.N.S. Krishna gave a vocal concert at BSS Vidyodaya in Krishnamurthypuram on Apr. 29. He was accompanied by veteran violinist H.N. Bhaskar on violin, Sumesh Narayanan from Chennai on mridanga and Bharadwaj Sathavalli on morching.

The concert showcased Krishna’s deep-rooted classical training and his ability to infuse traditional Karnatak Music with fresh interpretations.

Sri Vidyashreesha Tirtha Swamiji of Vyasaraja Mutt graced the occasion with a speech of blessings and father of T.N.S. Krishna, Sangeetha Kalanidhi T.N. Seshagopalan was also present.

The concert commenced with a shloka on Chamundeshwari followed by Muthiah Bhagavatar’s varna ‘Sri RAja Matangi’ set to Adi tala. Krishna’s presentation of the varna in the challenging second speed was impressive.

‘HerambhAya namaste’ by Dikshitar, a less heard composition was a welcome surprise.

Kamavardhini was engaging with a detailed alapana, Sri Tyagaraja’s kriti ‘Shiva shiva shiva enarAda’ and a neraval at ‘Agamamula’ and well-knit Swaras with the percussionists enhancing the rhythmic complexity.

Another shloka on Goddess Meenakshi in Anandabhairavi seamlessly transitioned into Sri Shyama Shastri’s ‘MarivEre dikkevaramma.’ After a quick filler ‘MarugElarA O RAghava’ by Sri Tyagaraja in Jayantasri, Krishna moved onto the main raga of the evening — enchanting Mohana.

The raga was extensively developed slowly, concentrating on the beauty aspects like lightning brigas which mirrored his father’s singing and catchy sancharas, showcasing Krishna’s command over the raga’s intricacies.

Mysore Vasudevacharya’s ‘Ra Ra RAjeevalOchana RAma’ brought happy smiles on faces of the audience. The highly intellectual Swaras were made more colourful with the ragamalika swaras in Nata, Gaula, Arabhi, Varali, Bahudari, Darbaar, Bhauli, Kadanakutuhala, Revati, Suruti — all in a single Avarta — exactly as Seshagopalan would do.

The synergy between Krishna and his accompanists was palpable. Bhaskar’s violin responses were both supportive and explorative, echoing Krishna’s improvisations with finesse. Sumesh and Bharadwaj provided a rhythmic foundation that was both robust and responsive, enhancing the concert’s dynamism.

The concert concluded with ‘Devaki Nandana nanda Mukunda’ in ragamalika post taniyavartanam.

Krishna is a replica of his father — both in looks and in the style of singing. This concert exemplified T.N.S. Krishna’s ability to honour the rich traditions of Karnatak Music while infusing it with his unique interpretations. His meticulous approach to raga development, combined with thoughtful repertoire choices and collaborative synergy, made for an evening that was intellectually stimulating.

This concludes the music series of Bhagini Sangeethotsava 2025.

—Dr. Padmavathi Narasimhan