The maestro adds that he has chosen ragas that seamlessly blend with the sequence, and has included popular songs such as ‘Ayye Metha kadinam’ and ‘Kana Vendamo.’He has used about 18 different types of drums to present ‘Nandichchol’ believed to have been played by Nandikeswarar. Ilaiyaraaja asserts that the music for this production is something that cannot be experienced anywhere in the world! The music, according to Krithika, has evolved as a natural process without any premeditation or planning. Thirty tracks have been recorded for ‘Swappnam’ and of then nine, will be released as a CD by santoor wizard Pt. In my music, the saptaswaras and the silent pauses are coherent, without any aberration.” The ‘half count or three fourths count pauses’ before the commencement of a song are also silent intervals. Every occurrence has to be natural, including the silent intervals. “You should never thrust anything in art. His silent intervals too are pregnant with explanations. Ilaiyaraaja’s music always finds a balance between silence and music. The way he taught me was an experience of a lifetime.” Ever since, singing for him feels like a pilgrimage. He then cajoled me and presented me with a Navaratna ring. When Raja Sir approved of my singing, I broke down. “After years of waiting, I first sang for Ilaiyaraaja’s 1000th film ‘Thara Tapattai’. Sharreth, who had sung ‘Pradeepta,’ shared his thoughts over the phone. We had to do a lot of homework to create something that would only enhance his music.” He gave us some high calibre music visualising the script. “As we wanted a song with a pan-Indian feel, we requested Raja sir to compose in such a manner that it will not be identified with any particular region or State but the country as a whole. It opened up a lot of dimensions for us.” Ilaiyaraaja adds that they sum up to 16 beats. Choreographing for this was pretty tough as we had to set new jatis. It is new concept for a dancer to interpret. She says, “It is a mix of sankirnam (nine beats) and misram (seven beats). So what was new in this production? “In the song, ‘Pradeepta Rathnajowla,’ I have set a different talakattu.” He then looks at Krithika to explain it. Bharatanatyam offers a lot of scope for this. Ilaiyaraaja loves to innovate with rhythm as is evident in his songs. If executed in the right way, they can be enjoyed by one and all.” I do not subscribe to the view that classic art forms never reach the common man. Art or any form of art has to be really classic. We have tread carefully to conform to the rules, be it the production, choreography or the music. Here too, the idea is the same but Bharatanatyam and classical music are based on certain well-accepted premises called Sastras. “In films, we do make a lot of compromises as the prime objective is to take it to the common man. How different was it working for a dance-based production? He smiles.
#Kunitha puruvamum thevaram full#
This is the first time Ilaiyaraaja has scored music for a dance opera although there are several full length dance-based movies to his credit. Though it is not a dance drama, there are enough dramatic sequences.” “Whether it is films or a stage production, music is the same. The maestro spared some time amidst his busy schedule to talk about ‘Swappnam’, to be staged in Chennai. Ilaiyaraaja is a nadha yogi and such experiences are bound to overwhelm any person who gets an opportunity to work with him. She cherishes those moments she spent with him and is at a loss of words to describe many. And the following 40 days were full of bliss and divinity, as she worked with the maestro. Krithika says that her excitement knew no bounds.
#Kunitha puruvamum thevaram professional#
Wary of whether he would accept such as paradigm shift in his professional work, Krithika wanted only a few songs composed by him.īut after listening to the script, Ilaiyaraaja nodded his head and said, “Why just a few songs? I will do the entire music!” The script needed music of a kind that would be expressive and guiding, and Krithika says she could not think of anyone other than maestro Ilaiyaraaja.
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Fellow Bharatanatyam dancer Vaibhav Arekar is the co-choreographer. It varies from person to person,” begins dancer Krithika Subrahmanian who has conceived and scripted an operatic dance titled ‘Swappnam,’ produced by Namaargam Dance Company, Sreshta and Sumanth & Co.
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You are literally on an exclusive lane with no traffic jams. Balasubramanian“Dreams are without any shackles, where you can have fast-paced fun. In another first, Ilaiyaraaja composes music for a classical dance production, ‘Swappnam’.