Carnatic vocalist Amritha Murali added a definite fashion to her renditions
Amritha Murali with R.Ok. Shriramkumar (violin) and Ok. Arun Prakash (mridangam).
| Photograph Credit score: Particular Association
Quickly after presenting a lec-dem on ‘Raga’s altering nature throughout compositional varieties’ at The Music Academy, Amritha Murali provided a soulful efficiency in reminiscence of Smt and Shri V .Ananthanarayanan for Naada Inbam. Three stirring niravals at ‘Padayugamu madilo dalachi’, ‘Parula Nutimpagane’ and ‘Madana Ripu Sati’, all within the Swarasahitya portion, marked her beautiful therapy of the Syama Sastri kriti in Ananda Bhairavi, ‘Marivere’ (Misra Chapu) in a melodic sluggish tempo.
The frilly alapanas of Thodi and Kalyani, noticed Amritha deliver out their musical construction and essence by interweaving charming patterns. The kriti she selected for Thodi was ‘Sri subramanyo maam rakshatu’ of Dikshitar on the deity in Tiruchendur. On this kriti, which is within the first vibhakti, there’s a reference to the Navaveeras who help Lord Subrahmanya in battle. Dikshitar has additionally talked about Patra Vibhuti — holy ash distributed on a leaf of apanneer tree. Within the swaraprastara on the pallavi, her musicianship and technical proficiency blended nicely.
In Kalyani, she rendered ‘Sive pahimam ambike’ by saint Tyagaraja. This kriti is in reward of Dharmasamvardhini of Tiruvayyar. Intensive niraval and swaras have been at ‘Kaverajottara theera vasini’ (Anupallavi).
Within the live performance, Amritha was accompanied by her guru, violin violin R.Ok. Shriramkumar. His skill to effortlessly weave an online of allure in any raga got here to the fore within the alapanas and swaraprastaras. He’s additionally a composer and Amritha rendered one among his compositions, ‘Nidhamum Un Padam’ on Madurai’s Meenakshi in a tuneful Jayamanohari.
Mridangam vidwan Arun Prakash’s subdued richness was an asset to the vocalist. His technical experience and creativity got here by means of in his tani. He provided a beautiful thani, a mix of technical excellence and creativity.
Amritha commenced her live performance with ‘Tyagaraja palayasumam’ with a samashti charanam, the dhyana kriti of Dikshitar’s Tyagaraja Vibhakti kritis, within the eighth (sambhodana prathama) vibhakti. The kalpanaswaras have been at ‘Sri guruguha pujitha’. One other Dikshitar kriti that she introduced was ‘Chetha sri balakrishnam’ (Rupakam) in Dwijavanti, a raga that introduced out the sahitya’s bhakti and karuna rasas. Amritha’s spontaneity and penchant for perfection got here by means of on this rendition. Her spontaneity and urge for perfection have been in command.
Amritha rendered Tyagaraja’s ‘Haridasulu vedale’ in Yamuna Kalyani with glorious modulation, and spontaneous subtleties. After a virutham, ‘Shanku chakra gadha paanim’ in Kapi and Behag, she rendered Kamalesa Dasa’s ‘Kandu dhanyanadeno sri udupi krishnana’ (in Behag).
Amritha as soon as once more showcased her artistic expertise by selecting to render a couple of verses of Tiruvarutpa from Vallalar’s ‘Mahadeva Maalai’ as a virutham. she rendered the verses
captured the creativeness of the viewers by means of her musical portrayal of some verses of Tiruvarutpa from Vallalar’s ‘Mahadeva Maalai’. She rendered the verses‘Vedanta Nilaiyaagi adopted by ‘Paramaagi Sookkumamaay Thoolamaagi’ (Khanda Chapu) as a virutham in a ragamalika. making a temper of non secular tranquillity.
Revealed – January 11, 2025 04:07 pm IST
