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Medha Hari at Narada Gana Sabha

At Narada Gana Sabha’s Margazhi festival, Medha Hari began her recital with an invocation to Goddess Sarada, drawing from the verses of Sharada Bhujanga. The verses salute Goddess Sarada, the radiant divine with a moon-like forehead, resplendent cheeks, and a gentle smile, who brings joy to her devotees and manifests in nine forms. The verses, set to music by vidwan Rajkumar Bharati, were composed in ragamalika and talamalika.

Next came the varnam, depicting a heroine overwhelmed by love and reverence for Lord Siva. She shares her sorrow with her friend, lamenting the unrelenting assault of Cupid's arrows. Her voice is filled with longing, yet her devotion to him remains steadfast. This piece, Moham gginen inda velayil, set in raga Kharaharapriya and tala Adi, is a composition by K.N. Dandayudapani Pillai. Here the sanchari bhavas were a highlight, showcasing Medha’s ability to delve deeply into the narrative. Each sanchari explored layers of emotions, from the playful teasing of Cupid's arrows to the steadfast resolve of a love unshaken by societal judgment.

Moving on was a padam depicting Siva and Parvati, aware of their mischievous son Skandha’s curious and cheeky nature, deciding to merge into the form of Ardhanarishwara—a divine being that transcends the boundaries of gender. Set in ragamalika and talamalika, the verses, set to music by Rajkumar Bharati. Medha brought out the mischievous antics of the young deity through playful gestures. The moments where Skandha curiously wonders why Amma has a beard and Appa has a breast were executed with clarity and charm.

                                 

She then presented the javali Entati Kuluke, set in raga Kalyani and tala Roopakam. Medha subtly evoked the essence of Sringara Bhava, drawing the audience in with her refined and expressive interpretation. She concluded her recital with a tillana, a composition by Lalgudi G. Jayaraman. 

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