Khatija Rahman’s ‘The Garden of Echoes’ bloomed with diverse songs

In a satellite progressively unsettled by sound and dissonance, composer-singer Khatija Rahman emerges arsenic a dependable of solace. Her caller performance ‘The Garden of Echoes’ astatine The Museum Theatre, Chennai, offered thing the assemblage did not cognize they were yearning for.

From the precise archetypal note, Khatija’s deeply-centred singing felt similar a enactment of comfortableness erstwhile abrasiveness has been normalised. Her euphony invited stillness.

The evening opened with the accepted ‘Maula ya salli, qaseeda burda’, wherever spirituality blended seamlessly with modern harmonies successful a staccato-infused, modern choral arrangement. Without breaking the meditative spell, Khatija moved into the unplugged ‘Yaavum neeye’ from Tere Ishq Mein, written by Mashook Rehman and composed by A.R. Rahman, and elevated by the lush orchestral and choral beingness connected stage.

A rhythmic displacement led to ‘Kannedhirae’ from R Parthiban’s Iravin Nizhal. It was a infinitesimal that invited adjacent the astir restrained listeners to sway. Dressed successful white, bluish and purple, Khatija rendered ‘Chinnanjiru nilavae’ (Ponniyin Selvan 2) with affectional maturity .A poignant infinitesimal successful the performance arrived with ‘Ulagam oru naal’ from Maidaan, delivered with optimism. Its cardinal connection of aspiration recovered an contiguous transportation with the audience. The temper shifted to reverence with the naat-e-Sharif ‘Amna beebi ke gulshan mein’, a opus Khatija said she has loved since childhood. Then, with a rhythmic sparkle, came ‘Rock a bye baby’, written by Thamarai for 99 Songs.

A infinitesimal of poetic stillness and musings connected emotion arrived with ‘Vizhigal sera, kadhaigal oora’. Khatija widened the affectional skyline with ‘Anbendra mazhaiyile’ and ‘Minsara kanavu’, paying tribute to the communicative of Christ’s commencement done music, a reminder that emotion and humanity transcend divides.

The signifier resonated with the warmth of Kalyani Nair’s Indian Choral Ensemble, and the cinematic expanse of the Sunshine Orchestra String Quartet comprising Vignesh, Nandhini Anbazhagan, Ebinezer Gnanraj and Deepa. The shimmering brass textures of Pavithra, Muhammad and Nandhu, headed by Lisa Sarasini, added sparkle.

Khatija’s halfway set comprised Chris Jason connected the guitar, Bhuvanesh connected the keys, Laxman Arvind connected bass, Guberan connected the drums and Nikhil Ram connected the flute. The acoustics and ambiance were by Riyasdeen Riyan. Mohan Raj’s lighting complemented the music.

The evening reached a zenith with ‘Farishton’ (music by A.R. Rahman and lyrics by Munna Shaokath Ali), sung similar a supplication for the world. Then came an unexpected delight: the nostalgia-laden ‘Piya tose naina laage re’ and ‘Aapki nazron ne samjha’.

The Thirukkural, delivered with spiritual depth, made for a cleanable finale. The assemblage sat successful soundlessness agelong aft the past enactment faded.