Steady stream of swaras
T.K. GANAPATHY
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Amrita Venkatesh's aesthetic sensitivity in the sahitya contributed to the nuances of melody.
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Amrita Venkatesh.
Amrita Venkatesh is a young and promising vocalist from Bangalore. With a distinctive timbre and depth in her voice, she gave a gratifying vocal recital under the aegis of Manoranjitham.
Her aesthetic sensitivity in the sahityas of her songs contributed to the nuances of melody. Her delivery of the opening Kedaragowlai varnam, `Saami Daya' with gay abandon promised a steady stream of musical expression in the succeeding numbers.
Impressive sketch
`Vidhulaku' (Mayamalavagowlai) that came up next was impressively presented with swaras. She outlined the alapana of Anandabhairavi in an impressive sketch marked by lyrical tenderness for the song, `Mariveregathi.'
Her raga vinyasam of Varali was full of power with a happy blend of karvais and madhyamakala phrases for the kriti, `Seshachalanayakam.'
The niraval and swaras for the song were accomplished in proper proportion. Her raga alapana of Kambhodi in an alluringly easy style without any excess (though marred by swara slippages in the tara sthayi) spoke of her diligent training.
Her list included, `Thaye Unnai Adaiya' (Bahudari), `Janardhana Parama Paavana' (Balamanjari) and `Saaramaina' in Behag.
Venkatasubramanian's lyrical versions of the ragas on the violin were delightful. Aru Ganesh (mridangam) and Suresh (ghatam) sounded quite pleasing in their beats and competent thani.
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