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)

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