SID Sriram chose a list of pure cornatic performances for his concert at a famous temple in Singapore

Sid Sriram traveled to Singapore to perform a concert at the Mandla Festival of the famous Sri Shivan Temple after Kumbashekam. Given this opportunity and potential diverse audiences, they may have to call the character of the concert. He was a sensible decision chosen to keep it ‘Karnataka’. Kriti’s options followed a similar idea.

Almost all the crites were from the list of mainstream carnatic performances – ‘Kapali’ in Mohanam and ‘Akshayalinga Vibho’ in Shankara Bharanam – being pieces of anchor. One Ganesh Slokam and Pantuvarly Varanam (‘Sami Nin’) were as a salute batsman-such that someone could imagine. This was followed by ‘Sabpathiku’ (Abhogi, Gopalakrishna Bharti) and ‘Kapali’ (Papanasam Shivan) in tempo that did a little opposite. Mohanam Alapana was characterized by small phrases and impressive landing, while the progressive arc was maintained. In both songs, Swaras brought out the pattern-construction of Sid, which included some delayed rhythms.

An unexpected ‘Ranga Purvihara’ (Bindavan Saranga, Muthuswamy Dixit) arrested Tempo and comfortably made a concert that a concert was needed. ‘Banturity Kolu’ (Humsnam, Tyagaraj) was a frightening rendering with some Swift vowels. ,

The resolve to keep the concert traditional, Sid launched a poignant Shankara Bharanam Raga Alpana, which thoroughly orbiting the nuances without belaboring or double-shot sangathis. Violin players Varadarajan Raga were pleased in the clauses. Many people would not have expected the slightly slow Sanskrit pieces of the dikster, ‘Akshayalinga Vibho’, as the audience probably dominated the Tamil families with a deep language culture. Nevertheless, he showed that music is beyond the language with his vigorous support. In ‘Badarivan Mulla’, Niraval had another traditional punch added and no impression of light that the concerts of such a temple are associated with the concerts.

Sid then moved to the Gentler segment with ‘Gangadeshwaram’ (Sindhu Bhairavi) and ‘Adam Chidambaramo’ (Beg), shifting Giers for ‘Ana Kavi Padinalam’ (Shivranjani).

Their sudden voltage shifts and tonal variations are to be worked in modeling, as they are not German for Karnataka music. This will also push the style for more sovereign.

Terkuitionists’ (Patri Satish Kumar on Mridangam and Anirudh Athreya on Kanjira) continuously looking more gallery-focused. Despite some Mrs. brought a lot of classes in the concert due to the bounce of Varadarajan concert.