There may be all the time a way of anticipation when one goes to look at a efficiency by Srinidhi Chidambaram — what she would select to do and the way would she do it. It’s all the time a pleasure to see her go about her recital in a peaceful and composed method. ‘Vainava Tamizh’ was the title of her margam offered at Sri Krishna Gana Sabha. It was impressed by the Divya Prabandham – she was drawn to its Tamil verses.
“I’ve all the time tried to incorporate not less than one or two of those poems in my shows. This 12 months, I believed I might do a complete efficiency based mostly on this veritable treasure trove of verses,” mentioned Srinidhi throughout a post-performance interplay.
Not simply the nritta and abhinaya, it was additionally the stage decor and music that contributed to the recital’s aesthetic enchantment. Srinidhi selected seven Thiruppavai hymns (although not so as) in numerous kalapramanams and eduppus and strung them along with acceptable swaras within the varnam. The aim was to convey the essence of the Thiruppavai. Andal waking up her associates, going to the temple, waking up the Lord, after which lastly addressing the Lord and finishing her Pavai Nonbu had been all portrayed within the eleborate piece.
Srinidhi, who feels that the pasurams mirror feelings and concepts which can be partaking even as we speak, selected one which stood out for its vatsalya bhava. ‘Devakiyin pulambal’ was dealt with with utmost sensitivity. It introduced alive the sentiments of Devaki, who longs to be a mom to an lovely little one. One might nearly visualise little one Krishna working round and Devaki attempting to carry him in an embrace.
In ‘Magalai engum kanen’, Srinidhi expressed the feelings of a disgruntled mom of a woman who has run away with Krishna. Srinidhi’s interpretations of the various dimensions of those verses had been fascinating.
On the nattuvangam was Swamimalai Suresh with Radha Badri on the vocal, Nellai Kannan on the mridangam, Kalaiarasan on the violin and Sujith on the flute.