5 months ago
2
In her performance for Kedaram’s 10th Isai Vizha, Krithika Natarajan offered the assemblage some aesthetics and melody. The extended Abheri alapana, compact successful expression, had a classical base. Krithika’s cleanable modulation and rendering brought retired the psyche of the raga, and the opus that followed was ‘Bhajare re manasa’ by Mysore Vasudevachar. The architecture of the 3 segments — alapana, kirtana and swaraprastara – was well-designed. On the violin was Sruti Sarathy, who, successful allegiance to the Lalgudi style, created a charming operation of the raga some during the alapana and the kalpanaswara segments. Sai Raghavan connected the mridangam duetted with S. Sunil Kumar connected the kanjira, and the duo executed a brilliantly thani.
Earlier, Krithika commenced her performance with the varnam ‘Chalamu seyanela’ successful Valaji, by her guru Lalgudi Jayaraman. The Purandaradasar devaranama ‘Vandisuvadaadiyali gananaathana’ successful a melodic Nattai came up next.
The elaborate Purvikalyani alapana by Krithika enriched the raga swarupa. Sruthi offered an aesthetic elucidation. Tyagaraja’s ‘Para loka saadhaname’ with superb niraval and swaras astatine ‘Tanayadi baandhavula bhramache’ followed.
‘Kumaran taazh paninthe thuthi’, successful Yadukula Kamboji, a brisk, yet soothing kriti by Papanasam Sivan, was a neat rendering. This was a favourite of D.K. Jayaraman). ‘Irakkam varaamal ponathenna karanam’ successful Behag (Rupakam) by Gopalakrishna Bharati, a KVN masterpiece, had a poignant touch.
Krithika coiled up with a thillana successful raga Vasanthi by Lalgudi Jayaraman successful Misra Chapu, and the Tiruppugazh ‘Agaramumaagi’ connected Pazhamudhircholai. Her captivating manodharma stood retired done retired the recital.
