Reviews
Concert Review - Amritha Murali

By Asmita Padmanabhan
Vidushi Amritha Murali's concert at Narada Gana Sabha
was a celebration of classicism and musical finesse, accompanied by vidwans
H.N. Bhaskar on the violin, Patri Sathishkumar on the mridangam, and K.V.
Gopalakrishnan on the khanjira.
The concert began with Sugunamule in Chakravakam, where Amritha's swaras were complemented
by an excellent korvai. H.N. Bhaskar's swara responses were equally
captivating. However, Amritha’s frequent movement away from the microphone led
to inconsistencies in sound, affecting the overall listening experience.
Amritha's expertise in rakti ragas shone through her
gentle rendition of Yadukula Kambhoji. The alapana was marked by a flowing,
unhurried approach, allowing the raga’s inherent beauty to emerge effortlessly.
Her rendition of Hecharikkaga ra ra
was slow-paced, showcasing her strength in handling kritis that demand subtlety
and depth. Despite some mic issues that couldn’t capture the nuances of her
voice modulations fully, the niraval was beautiful. Patri Sathishkumar's
mridangam accompaniment was excellent, especially in the mel kala swaras, which
retained the gentle touch of the raga. The prastharam around the daivatam was
particularly enjoyable.
The Shanmukhapriya alapana was a masterclass in raga
aesthetics, with Amritha ensuring that each note and pattern contribute
meaningfully to the raga's beauty. Bhaskar mirrored this approach, enhancing
the rendition. In her alapanas, Amritha never lingers on a phrase, forces a
pattern, or experiments for novelty. Instead, she allows the raga to unfold
naturally, flowing effortlessly through her voice, phrase after phrase. The
result is a rendition that is classic, warm, and imbued with finesse. The
composition Seetha manohara sitachama
Rama was well delivered; the swaras were both creative and compelling.
Ranganayakam in Nayaki was a serene
interlude, followed by the lively Triloka
Mata Nannu Brova in Paraju by Syama Sastry, which added an energetic
contrast. Amritha's interpretation of Shankarabharanam was a standout moment.
Her alapana unfolded as a seamless cascade of rakti-laden phrases, exuding a
natural elegance that has become her signature. Bhaskar’s violin complemented
her with equally evocative responses, mirroring her depth and sensitivity. The
pallavi, Sankarabharanaadri Vaasa Sham
Kuru Srinivasa, set in Khanda Triputa, was delivered with finesse, while
the niraval and swaras radiated a sense of comforting familiarity, drawing
listeners into its embrace.
The ragamalika swaras, with Hamsanandi standing out,
concluded beautifully in Srinivasa.
The tani avartanam was a spectacle, with K.V. Gopalakrishnan’s round of
koraippu earning spontaneous applause, even from Patri himself. The elaborate
korvai was a spectacular finale, leaving the audience spellbound and in awe of
its brilliance.
Amritha then presented Petra Thai viruttam in a ragamalika, followed by a slow and soulful
Kaana Vendamo in Sriranjani. The
concert concluded with Tukaram’s abhang Vaidhya
eka Pandhari raava.
The concert concluded with a mangalam on Sharadamba, leaving the audience enveloped in the warmth of classic ragas and familiar
phrases that they could never tire of.
(The author is a freelance writer and a student of Carnatic music)