Niranjana Srinivasan has had the opportunity to study the theoretical aspect of music and her Charukesi alapana stood testimony for her competence in creative expression. She learnt music under Lalitha Sivakumar. She has a sweet voice, good laya control and a wide range.
On the violin, H.V. Raghuram, disciple of Lalgudi Jayaraman, etched an equally absorbing raga. Swati Tirunal’s ‘Kripaya Palaya Sowre’ is a masterpiece and Niranjana rendered the kalpanaswaras at Pallavi itself. The crisp thani in Misra Chapu by Ram Sriram (mridangam) and Nanganallur S. Swaminathan (ghatam) had a tisra nadai element as well.
The expansive elucidation of Suddha Dhanyasi created the right musical ambience for ‘Sri Parthasarathina’ (Rupakam) of Dikshitar. It had a lovely chittaswaram. She rendered swaraprastara at the madhyama kala point, Prapanchadi. Raghuram excelled both in the exposition of the raga and in swaraprastara.
Harikesanallur Muthaiah Bhagavatar’s compositions are as noteworthy for their quality, as for their variety. Niranjana rendered his ‘Ambavani Nannu’ in charming Kiravani, with swaras at the charanam, ‘Paradevi Ninnu.’ Gopalakrishna Bharati’s ‘Enneramum’ (Devagandhari) and Tyagaraja’s ‘Banturiti’ (Hamsanadam) were neatly rendered. In the latter, niraval and swaras were at ‘Ramanamamane.’
Niranjana commenced her concert with a dynamic Kedaragowla varnam, followed by Oothukkadu’s ‘Srivighnarajam Bhaje’ (Gambhira Nattai). Niranjana rendered Guru Surajananda’s Yamuna Kalyani composition, ‘Kannanai Paadu Maname,’ which was popularised by DKJ.
