Fri Dec 26 07:51:20 UTC 2025: Okay, here’s a summary of the text followed by a rewritten version as a news article:

Summary:

This article is a review of a Carnatic music concert performed by Sanjay Subrahmanyan, accompanied by S. Varadarajan on violin and Neyveli Venkatesh on mridangam, as part of the Chennai Margazhi Season. The reviewer highlights Subrahmanyan’s consistent experimentation and unique style, which can sometimes challenge listeners accustomed to more traditional Carnatic music. While appreciating his unwavering sruti fidelity, voice range, and innovative approach to ragas, the reviewer notes that some of the experiments, especially in the Hemavati RTP, were not always pleasing to the ear. Overall, the concert showcased Subrahmanyan’s strong musical value and repertoire and his ability to maintain a loyal following despite his unconventional style.

News Article:

Sanjay Subrahmanyan’s Experimental Carnatic Performance Divides Audience at Chennai Margazhi Season

Chennai, India – December 26, 2025 – Renowned Carnatic vocalist Sanjay Subrahmanyan presented a concert at the Chennai Margazhi Season, showcasing his signature blend of tradition and experimentation. Accompanied by S. Varadarajan on violin and Neyveli Venkatesh on mridangam, Subrahmanyan delivered a performance that both delighted his loyal fanbase and challenged those less familiar with his unconventional style.

The concert featured a mix of compositions, including the “Viriboni” varnam in Bhairavi and a brisk rendition of “Ongi ulagalanda” in Arabhi. Subrahmanyan’s explorations of Ritigowla and Suryakantham ragas demonstrated his penchant for new syllables and phrases.

However, the highlight of the evening – and perhaps the most divisive element – was the Hemavati RTP (Raga Tana Pallavi). While Subrahmanyan’s tanam singing demonstrated intense raga bhava, the influence of vocal effects reminiscent of M.D. Ramanathan and Madurai Somu, while unique, weren’t received well by everyone.

“For his regular rasikas the concert might have been familiar, but others needed to retune to his style,” noted one reviewer from The Hindu. “Some of the syllables were clearly unfriendly to the ear.”

Despite the mixed reactions to the RTP, Subrahmanyan’s performance of pieces like “Ambara chidambara” in Janaranjani and “Kani nilam vendum” were well-received, demonstrating the vocalist’s strong musical value and repertoire.

Varadarajan and Venkatesh provided solid support throughout the concert, maintaining a close connection with Subrahmanyan’s musical vision.

Ultimately, Sanjay Subrahmanyan’s performance was a reminder that his journey has been travelled through many phases. For some, Subrahmanyan’s experimentation is a vital element of his art; for others, it represents a departure from traditional Carnatic music tenets. Whatever the perspective, the concert offered a stimulating experience that confirmed Subrahmanyan’s position as a leading figure in the Carnatic world.

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