A mature musical consciousness was evident as V. Shankaranarayanan sang (The Hindu)
V. Shankaranarayanan, a disciple of Vaigai Gnanaskandan, gave a creditable performance. Opening with the Saveri Adi tala varnam, the singer moved on to Dikshitar's 'Vallabha Naayakasya' with kalpanaswaras in the pallavi that were driven with enthusiasm and elan.
Tyagaraja's 'Makelara' in Ravichandrika and the swaras were sung with gay abandon and a sizzling spirit, a la the musician's mentor.
Shanmukhapriya, expands cohesively with nagaswaram prayogas and a spate of mercurial sancharas in the fast track, denoting the mature, musical consciousness.
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Refined inimitable style (The Hindu)
Special poojas and aradhana were performed to the saint's idol and renditions of pancharathna krithis by Vidhwans led by V.Shankaranarayanan was soul-stirring.
The vocal recital in the evening by the young up and coming V.Shankaranarayanan was a testimony to his meticulous and rigorous training in carnatic music. Commencing his recital with a lively presentation of Merusamana, the vocalist rendered "Sambo Mahadeva" with felitious expression. A rare krithi of Thyagaraja "Lokavana Chatura" which preceded a
raga vinyasam with all the phrases needed to bring out its characteristic splendor was captivating. The eloborate delineation of Thodi was a juicy depiction. "Karunajuda Vamma" not only brought out his its grandeur but also his tonal flexibility. He showcased his artistry with imaginative neraval and gripping swara prastharas.
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Singing in sync (The New Indian Express)
Shankar has a clear voice and sings with supreme self assurance. It could be very well seen in his raga vinyasa and kalpana swaras.
Shankar’s alapanas display vigor. He could stand on extended kaarvais and also race of brigas with equal ease. The earlier alapana of sudha kalyani and the later sahana proved his point.
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Practice shows (The Hindu)
Young V. Sankaranarayanan impressed the audience with his skill to project the facets of Carnatic music powerfully in a style aligned on the sruthi. That he has developed his lakshya by listening and painstaking practice could be discerned in his dexterous delineation of ragas, Ramapriya and Nattakurinji.
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Convincing Classical Force (The Hindu)
Young V. Sankaranarayanan sang with a convincing classical force for Sri Krishna Gana Sabha. He impressed the audience with his deft depiction of the pieces, "Viriboni'' (varnam in Bhairavi), "Siddhivinayakam'' (Shanmukhapriya), "Dinamani'' (Harikambodi), "Ranganayakam'' (Nayaki) and "Pankajalochana'' (Kalyani). The vocalist's description of the ragas, Harikambodi and Kalyani was dignified and expressive of his effective conception of their classical features.
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Good delineation of Panthuvarali (The Hindu)
YOUNG V. Sankaranarayanan presented an enjoyable vocal recital for Sravanam at the auditorium of the Tirumala Tirupathi Devasthanam's Information Centre in T. Nagar.
The vocalist delighted the listeners with a brisk rendition of the opening piece, "Vatapi'' (Hamsadhvani). "Theratheeyaka" of Thyagaraja in Gowlipanthu was presented in a way that did justice to the raga's distinctive charm. The singer's depiction of the piece, "Nagumomu" of the same composer in Abheri was lively. Sankaranarayanan showed good imagination in his description of Panthuvarali.
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Laya on a tight leash (The Hindu)
V. SANKARA NARAYANAN, a disciple of Vaigal Gnanaskandan, begins his programme for Kalavardhini's audio album with "Prasiddha Gananatham", a pleasing composition of Alathoor Vijaya Kumar in Sanskrit, deifying Lord Ganesa. The song is set in the vivadi raga Preyasi, a melody credited to the composer himself. The rest of the agenda comprises kritis on Lord Muruga.
Balasubrahmanya in Bilahari has the regal patantaram of Semmangudi Srinivasa Aiyar, (Gnanaskandan is one of the senior sishyas of the great man) and the neraval and swaras for the lyrics "Apala Gopala" are sung with imagination keeping laya on a tight leash.
Varali one of the delicate ragas, the gandhara of which has to be handled with skill and sensitivity, has been elaborated upon with sustained karvais, pertinent prayogas and a measure of zestful phrases.
Papanasam Sivan's "Kaa Vaa Vaa" is a work of art and the artiste has done justice to the devotional and musical appeal in the composition. The swaras with sarvalagu sequences and the final korvai are marked with precision.
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Musical Tribute to Narayana Tirtha (The Hindu)
With excellent support from Hemalatha (violin) V. Sankaranarayanan who
has a rich and malleable voice rendered Poorayamamakamam (Bilahari) in style.
So was Hey Rama Hey Krishna in Vasanta panchamam. Ambattur Babu accompanied the artiste on the mridangam.
 
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