PNN
Mumbai (Maharashtra) [India], January 31: Mumbai's Carnatic music circuit witnessed three engaging and musically absorbing evenings as 24-year-old city-based vocalist Vignesh Shankarnarayanan presented a short concert series across Mulund, Andheri and Chembur, drawing attentive and appreciative audiences at each venue. An AIR B-High graded artiste, Vignesh displayed musical poise, clarity of thought, and a mature command over manodharma, reaffirming his growing presence on the concert platform.
Trained in Carnatic vocal music under Vidushi Vidya Harikrishna and currently also undergoing training under 'Sangeetha Kala Sagaram' Vidwan Delhi P. Sunderrajan, Vignesh has steadily built a reputation for balancing tradition with creative exploration. A recipient of honours including the Government of India CCRT Scholarship, the Pandit Vishnu Digambar Paluskar Award, and induction into Live4You's Hall of Fame, he combines musical discipline with an expressive, natural performance style. He continues to explore the form through rigorous practice and sustained listening, while also maintaining a strong academic trajectory. He recently completed his Master's in Pharmaceutical Sciences at the National University of Singapore as a top ranker, reflecting a rare balance between academic rigour and artistic pursuit.
The Mulund Fine Arts Society (MFAS) concert emerged as the highlight of the series. The sub-main Satta Leni in Naganandini showcased melodic elegance, while the main piece Shri Krishnam Bhajamanasa in Hanumatodi reflected depth, clarity, and emotive expression. The Ragam Tanam Pallavi in Charukesi, set to "Charukesha Jatadhara Shambho Chandrashekara Hey Tvambho", stood out for its rhythmic sophistication and the engaging kalpana swaram section, which included a ragamalika garland in Priyadarshini, Bindumalini and Hamsanandi, adding colour, excitement, and emotional closure to the performance.
Subsequent concerts in Andheri West (Sree Ram Kala Kendra) and Chembur (Thiruchembur Murugan Temple) continued this thoughtful approach, with programmes balancing classic kritis, expansive manodharma passages, abhangs, and thematic selections. Moments of on-the-spot kanakku exploration and playful interaction with accompanists brought warmth, spontaneity, and excitement to the stage.
Strong accompaniment enhanced the concerts throughout the series. Violinist Gayatri Vibhavari responded sensitively to melodic cues, while Mridangist Mumbai Shankarnarayanan provided a lively rhythmic foundation, complementing the vocalist's intricate improvisations.
Speaking after the concerts, Vignesh said, "Performing in Mumbai is always special... It's home ground after all. Each venue has its own energy, and I enjoy shaping every concert as a unique experience. The audience's involvement made these concerts deeply fulfilling."
The Mumbai series not only highlighted Vignesh Shankarnarayanan's growing artistic maturity but also reaffirmed the city's enduring appreciation for Carnatic music - one that celebrates depth, dialogue, and sincere musical expression.
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