Carnatic singer Amrita Murali showed how the choice of songs can elevate a concert

RK Sriramakumar (Violin) and K. Amrita Murali with Arun Prakash (Mridangam). , Photo Credit: Special Arrangement

Immediately after introducing a LEC-Dem on ‘Raga’s changing nature attractive concepts’ at the Music Academy, Amrita Murali offered a intimate performance in memory of SMT and Shri v .ananthanarayanan for Naada Inbam. Three Sir Nirawal ‘Padayugamu Madilo Dalachi’, ‘Parula Nutimgan’ and ‘Madna Ripu Sati’, in all the Swaroopharatha parts, Anand Bhairavi, ‘Marivare’ (Mishra Chapu) identified her Syama Shastri Kriti in ‘Marivare’ (Mishra Chapu).

The detailed alternaments of some and Kalyani noticed that Amrita brought out his music structure and essence by connecting attractive patterns. The work that was chosen by the initiation on the deity in Tiruchendur for ‘Sri Subramanyyo Maam Rakshau’ was chosen. In this work, which is in the first vibacty, is a reference to Navivaras who assist Subrahmanya during the war. Dikshitar has also mentioned P. Trivuti – the holy ash was distributed on a leafPanner tree. In Pallavi, in Swarprastara, her music and technical proficiency were well mixed.

In Kalyani, Amrita rendered ‘Siva Pahim Ambike’ by Tyagaraja. This work is in praise of Dharmas Vardhini of Thiruvayar. The widespread Nirawal and Swar were in ‘Kavarjotara Thera Vasini’ (compliance).

At the concert, Amrita was accompanied by her guru and violin with RK Sriramakumar. His ability to easily weave a web of attraction in any raga came out in Alpana and Swaraprastars. He is also a musician and Amrita presented one of his compositions, ‘Nidhamam An Padam’ in Madurai’s Meenakshi at a tunnel Jayamanohari.

Mridangam Vidwan Arun Prakash under control was a property for the singer. His technical expertise and creativity took place in his tani.

Amrit started her concert with ‘Tyagaraja Palayasum’ with meditation work of Tyagaraja Vibhakati Critis, a Samarthi Charanam in the eighth (Sambhodna Pratam) Vibhadi. Kalpana was in ‘Sri Guruguha Pujita’. Another initiation work she presented was ‘Cheta Sri Balakrishnam’ (Roopakam) in Dwijavanti, a raga that brought out devotion and compassion in literature. Amrita’s spontaneity and penchant came under this rendering for perfection.

Amrita presented Tygaraja’s ‘Haridasulu Vedale’ with impressive modulation in Yamuna Kalyani. After a heroic, Kapi and Baig presented ‘Shanku Chakra Garh Paimony’, he presented Kamlesa Das’s ‘Kandu Dhanyanadeno Shri Udupi Krishnana’ in Behgh.

Amrita chose Vallar’s ‘Mahadev Malai’ to present some verses of Thiruvarutpa as a heroic in a ragamalika, which was creating a mood for spiritual peace.