S. dedicated to Gopalakrishna Bharti. Swarmika’s concert was high on Bhava

S. Swarmika Chaganti with Ramya Kiranmay (Violin) and Kundurthi Arvind (Mridangam). , Photo Credit: Velkani Raj B

It was no surprise that S. The concert of Swarmika is dedicated to the compositions of Gopalakrishna Bharati and was presented at the Kasturi Srinivasan Hall under the aegis of Sangeet Academy, a reflection of stable progress made in his career. However, what came as a surprise, however, her choice was the choice of Pratimadhyam Ragas – Purvikalini and Verli – for exploration, was bypassing more abundant Sudhadhamadhyam variety. Looking at the dynasty of Swaramika – she is the granddaughter of the singer, singer Lilavathi Gopalakrishnan and G. Srikanth’s daughter – someone would have hoped that he would expect a balance to create a balance by drawing from the list of his mass demonstrations within the corpus of the composer.

He said, the singer engraved an impressive performance, which caused the cosmic dancer, Nataraja. She was well supported by Chaganti Ramya Kiranmay on Violin and Kundurthi Arvind on Mridangam.

A 19th-century musician, Gopalakrishna Bharat, dedicated to the dance deity of Chidambaram, connects Nataraja not only as a religious icon, but as a cosmic principle-as a spiritual avatar of Brahmand-as a spiritual avatar of Brahmand. His depiction of the Lord’s dance is not only mythological or artistic; It is a deep philosophical metaphor for the rhythm of the universe, as it makes sense in many of his compositions.

A fast start

S. Swarmika’s Sangeet Gopalakrishna Tribute to India. , Photo Credit: Velkani Raj B

Swarmika made a note to surrender to the Lord through the ‘Sarnagamest Ananya’ in Govalai, established a sharp opening. He extended his appeal with a Swara sequence that was as alive as it was fine. In Begada, ‘Chidambaram Enroreu Tharam Sonal’, which suggests a shortcut to the divine sanctuary, was sung with devotion.

Purvikalyani Alapana, especially in the upper registers, overthrew the luping phrases to Sancharas, and long notes, and brought out the stimulating mood of the raga. The work of Ramya Kiranmai’s bow created an interpretation, which closely reflected the singer’s ideas. After singing the song ‘Natamadamam Nathan’ set for the mine Chapu, the Swarmika led the well -prepared Swara exchanges, with the concluded Avataranam stood out.

The song of a hearing with a delicate Pallavi was rarely an interesting option in Karaharpriya. Swarmika interacted with calm assurance.

The Swarmika portrayed Varli as the main raga and the delimitation proceeded, in which the flair and speed gathered, the texture with the polish gum. Ramya Kiranmai once again displayed a deep sweet sensitivity in his response. After the composition ‘Adiya Padam Gatheeru’. His work singing has an infallible failure, and this challenging song was no exception. Nirwal, who opened ‘Nadu Pugazhadhidhum’ in Anupalvi, was a beautiful exhibition, and Kalpanaanavars jumped with vitality. Mridazist Arvind, brought in a lively rhythmic appearance, and his accustomed Talam Tani did interesting patterns and vibrant strokes.

A popular number ‘Adam Chidambaramo’ was sung next in Behag, and An Kanakasbhai Thirunatanam in Surutti brought down the curtain.