Srikanth and Aswathy’s well-crafted ‘Paraaparame’

Readability, grace and wonderful timing within the tempo variation marked the nritta. It was not explosive by way of vitality, however there was a peaceful confidence within the mathematical permutations.

The Chatusra Alarippu was notable for its musical accompaniment — the violin (Anantharaman Balaji) taking part in the emphasis beats and the mridangam (Nagai P. Sriram) enhancing the dancers’ usi beats and Ganesha symbolisms. The instrumental ensemble additionally included the veena (Ananthanarayanan) that offered the next ‘Kaithala’ Thirupugazh (Gambhiranattai, Adi) with a dramatic high-pitched finish.

The duo’s recital had verses from Paraapara Kanni by the Tamil saint Thaayumaanavar
| Picture Credit score:
M. Srinath

Verses from Paraapara Kanni by the Tamil saint Thaayumaanavar have been woven right into a mega tapestry of nritta and abhinaya tuned in ragamalika, Rupaka tala, by up and coming musician Samanvita Sashidhar. Every verse of give up was adopted by a chorus (composed within the raga of the verse) and swaras, one in the identical raga and the subsequent within the raga of the next verse. The final verse in Sahana was adopted by the swaras in reverse order — Sahana, Varali, Vaasanti and Saranga. Clever planning by Srikanth.

In one other occasion of intelligent pondering — they carried out yesteryear jathis by stalwarts, Kathirvelu Pillai (trikaala jathi), S.Okay. Rajaratnam Pillai, Vazhuvoor Ramaiah Pillai and Thanjavur Kittappa Pillai. Whereas ‘Tat dit takatarita’, the opening one was uncommon, the second ‘Takajam ta di tadana’ was lilting, the tisra jathi ‘Tagedhi tagedhi din’ and the final ‘Tanekuta ginagutaka’ have been conventional masterpieces. Nattuvanar M.S. Ananthashree was well-cued in.

Srikanth and Aswathy’s tillana had sahitya on the nirguna brahman
| Picture Credit score:
M. Srikanth

Srikanth’s mature abhinaya was amply displayed within the Markhandeya Shiva leela whereas Aswathy’s liquid eyes captured the ache of Nandanar properly. Thiruchaazhal by saint Manikkavaasagar, a dialogue between the saint and the mute daughter of a king, who breaks into speech to defend Shiva towards Manikkavaasagar’s mocking, was not upto Srikanth’s normal of dramatic timing and mime. The normal tune was full of life with Murali Sangeeth (vocal).

Srikanth and Aswathy completed with a tillana in Purvi, Rupaka (Thirugokarnam Subbarama Bhagavathar). It was satisfying mix of correct rhythm and deep sahitya on the formless Nirguna Brahman who resides inside every of us.