An extraordinary enthusiasm and freshness marked the web vocal live performance of Amrutha Venkatesh for the 63rd Annual Artwork Pageant of the South Indian Cultural Affiliation, Hyderabad. She opened the live performance on a assured observe with ‘Amma Aanandadaayini’, the Gambhiranattai padavarnam by way of M. Balamuralikrishna. Her immaculate kalapramana and aptitude for rhythmical grammar got here to the fore right away. This padavarnam is a smart instance of the musician and composer’s spirit of experimentation and huge creativity.
Amrutha adopted this up with Swati Tirunal’s well-liked Mayamalavagowla composition, ‘Deva deva kalayami’ in Rupakam, with a long, melodic swaraprastara on the pallavi. L. Ramakrishnan at the violin introduced an similarly fascinating reaction.
Amrutha is understood for mixing custom with innovation. She is a disciple of Prince Rama Varma and used to be additionally educated by way of the mythical Parassala Ponnammal. She had her previous tutelage beneath M.T. Selvanarayana and Charumathi Ramachandran. Amrutha gained the Song Academy’s Exceptional Vocalist award for 5 consecutive years from 2013. She is an eminent veena artiste as neatly.
On this live performance, the jewel within the crown, so as to talk, used to be the leisurely and prolonged alapana within the not-so-often-heard Nasikabhushani, the seventieth Melakarta raga. The singer faithfully introduced out the original options of this pretty raga. Her cruise throughout 3 octaves used to be admirable, particularly for the uncommon but delightful phrasings. The raga rendering at the violin deserved appreciation too. Amrutha’s kalpanaswaras for Tyagaraja’s ‘Maravairi Ramani’ (Adi – Tisra Nadai) on goddess Dharmasamvarddhini of Thiruvaiyaru had been a gourmand’s pleasure.
Then got here the breezy Kadanakuthuhalam composition by way of Mysore Vasudevachar, ‘Neekela dayaradu Raghu Ramachandra’. How are we able to ever believe a kriti on this raga with out chittaswara; and this piece had one, beginning with MaGaRiMaDa.
The spotlight, alternatively, used to be Tyagaraja’s all-time favorite ‘Chakkani raja margamu’. She blended various options and colors of Karaharapriya right here. The swaraprastara on the charanam, ‘Kantiki sundaramagu’ used to be lucid.
The thani introduced by way of S.J. Arjun Ganesh (mridangam) and Dr. S. Karthick (ghatam) used to be of top of the range. Whilst the laya artistry of Arjun Ganesh used to be clean and relaxing, Karthick gave a number of hints of his rhythm finesse.
Amrutha Venkatesh then rendered Annamacharya’s ‘Muddugare Yasoda’ in Kurinji, evoking the emotion of bhakti. She ended her recital along with her personal composition, a thillana in raga Surya, invoking Surya. S. Sowmya, her pupil, used to be at the tambura. The live performance is to be had on Hopead TV’s YouTube channel.
The Chennai-based reviewer specialises in Carnatic tune.