Kruthi Vittal-Bhatt’s concert stood for their coordination with Sangatists

As part of the monthly concert series, the Nadasurbabi Cultural Association of Bangalore, the senior Sangatists to the Chaulatha Ramanujam (Violin), Ku Jayachandra Rao (Mridangam) and B. Kruthi Vittal Bhatt’s outspoken concert along with Rajashekar (Morsing) was included. Kruthi handled the mobility of the stage with pose endometricity.

The concert started with the Navarsa Navargamalika Varna ‘Angayakarnani Anandam Kondle’ of Lalguri Jayaraman. Kruthi did full justice to the complex composition, which consists of Viwari raga such as Sucratra and Rasikpriya, and Hussni and Sahna Rakkti raga.

This was followed by ‘Abhimanamnadu’ (Begada, Petm Subramania Iyer). Kruthi managed to bring out the beauty of the raga in his briefly unlike. The miniature Kalapanaswara section was neatly designed with crisp Korapas from both singer and violinist, leading to a pleasant exchange.

The focal point of the concert ‘Meenakshi Me Mudam Dehi’ (Gamkarkari, Muthuswamy Dixit) stood outside for its grandeur. Alpana was carefully developed in the registers, which was easily running through Mandra, Madhyama and Tara Stayis with Kruthi. The voice modifications, especially in the upper octave, remained smooth. Madhyamakala literature was presented with emotional clarity. Nirwal of ‘Madhurpuri Nilay’ had a correct mix of depth and subtlety, while Kalpneshwar, structured in a formal rhythmic pattern, created a lively dialogue with the perkuitionist. Experienced Sangatists stole the show during the Tani Avortnam, which lasted for a good 20 minutes. In the early stages, Jayachandra founded an artistic Utkarsh, while Rajshekar responded with accurate and nature. The latter rounds moved to the fast, single avataranam exchanges, concluding in a grand closing, which was obtained with hearty applause.

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Shanmukhpriya Alpana was another attraction. Kruthi discovered the expansion of the raga and sang another Patanam Subramania Iyer Rachna ‘Marivare Dikevereya Ram’ in the Adi Talam. The Anupalvi phrase ‘Dora Nivu Don’ became a canvas for an intelligent Swarakshara interpretation. In his reply, Charulatha raised the subtle signals from the singer and embellished them in his own way. During Neerwal, ‘Sannuthanga Sri Venkatesh,’ opposite with vibrant intervals of Mridangam Vidwan with careful Raks. It was designed to hear an interesting hearing.

In Khanda Chapu, ‘Hatchchakag Rara’ was presented with a good understanding of the gentle nature of the raga at Kriti Chapu.

Kruthi presented ‘Antani Wina Vinthura’ in Urika the next by Pallavi Sesh Iyer, a fast -book composition with a chittas by a vibrant trick. After Tani, the concert maintained its speed with well -chosen ragas. The Purandarasara composition ‘Kaybekan Gopala’ was presented very neatly in Bindavan Saranga, followed by Sant Takram in Abhag ‘Bolwa Vitathala, Pahwa Vitathala,’ Raga Bhatiar. The concert concluded with Lalguri Jayaraman’s popular Mishra Shivranjani Raga Thilana, where Perkusinists made full use of rhythmic places.

The concert stood for coordination among the artists. Such a cameradry combines the prosperity of a concert experience.