Bilva Raman at Narada Gana Sabha was accompanied by Nandini Sharma Anand on vocals, Hari Krishnan on nattuvangam, Kiran R. Pai on mridangam, B. Muthukumar on flute, and K.P. Nandini on violin.

She commenced her recital with Muthuswami Dikshitar’s Pancha Bhootha kriti Ananda natana prakasam attributed to Nataraja of Chidambaram, where Lord Siva is revered. Set in raga Kedaram and tala Misra Chapu, and choreography by Leela Samson. Bilva was adorned in a red and green Bharatanatyam costume, complemented by coordinated jewellery.

 The next piece was K.N. Dandayudhapani Pillai's navaragamalika varnam Swamiyai Azhaitodi Va set to Adi tala choreographed by Leela Samson. Here the nayika confides in her friend, longing for Siva, comparing his absence to the scorching sun and yearning to witness his divine dance. She reflects on his promise to marry her, yet she waits, her thoughts consumed by him. Bilva beautifully depicted the journey of a young maiden deeply captivated by her love for Lord Siva. Her crisp adavus highlighted technical brilliance, while her nuanced expressions vividly conveyed the emotions of longing and devotion, capturing the essence of the piece.

Moving on was the padam Moratopu, composed by Kshetragna, set to raga Sahana and tala Misra Chapu and choreographed by Bragha Bessell. The nayika wonders aloud to her sakhi, questioning what irreparable wrong she could have committed. She reflects, “Don’t people quarrel and reconcile in an instant? He is so stubborn—go and bring him to me!” Bilva’s subtle eye movements effectively conveyed the inner turmoil and tenderness of the piece.

Bilva went on to perform the javali Nee Matale, composed by Pattabhi Ramayya, in raga Poorvikalyani, Adi tala and choreographed by Bragha Bessell She concluded her performance with Lalgudi G. Jayaraman's Madhuvanthi tillana, set to Adi tala, choreographed by Leela Samson. Bilva effortlessly blended intricate nritta with expressive abhinaya. 

pc: Adya Raman Gandhi