Carnatic vocalist Amritha Murali added a distinct style to her renditions

In Kalyani, she rendered ‘Sive pahimam ambike’ by saint Tyagaraja. This kriti is in praise of Dharmasamvardhini of Tiruvayyar. Extensive niraval and swaras were at ‘Kaverajottara theera vasini’ (Anupallavi). 

In the concert, Amritha was accompanied by her guru, violin violin R.K. Shriramkumar. His ability to effortlessly weave a web of charm in any raga came to the fore in the alapanas and swaraprastaras. He is also a composer and Amritha rendered one of his compositions, ‘Nidhamum Un Padam’ on Madurai’s Meenakshi in a tuneful Jayamanohari. 

Mridangam vidwan Arun Prakash’s subdued richness was an asset to the vocalist. His technical expertise and creativity came through in his tani. He offered a wonderful thani, a blend of technical excellence and creativity. 

Amritha commenced her concert with ‘Tyagaraja palayasumam’ with a samashti charanam, the dhyana kriti of Dikshitar’s Tyagaraja Vibhakti kritis, in the eighth  (sambhodana prathama) vibhakti. The kalpanaswaras were at ‘Sri guruguha pujitha’. Another Dikshitar kriti that she presented was ‘Chetha sri balakrishnam’ (Rupakam) in Dwijavanti, a raga that brought out the sahitya’s bhakti and karuna rasas. Amritha’s spontaneity and penchant for perfection came through in this rendition.  Her spontaneity and urge for perfection were in command.

Amritha rendered Tyagaraja’s ‘Haridasulu vedale’ in Yamuna Kalyani with excellent modulation, and spontaneous subtleties. After a virutham, ‘Shanku chakra gadha paanim’ in Kapi and Behag, she rendered Kamalesa Dasa’s ‘Kandu dhanyanadeno sri udupi krishnana’ (in Behag).  

Amritha once again showcased her creative skills by choosing to render a few verses of Tiruvarutpa from Vallalar’s ‘Mahadeva Maalai’ as a virutham. she rendered the verses

captured the imagination of the audience through her musical portrayal of a few verses of Tiruvarutpa from Vallalar’s ‘Mahadeva Maalai’. She rendered the verses‘Vedanta Nilaiyaagi  followed by ‘Paramaagi Sookkumamaay Thoolamaagi’  (Khanda Chapu) as a virutham in a ragamalika. creating a mood of spiritual tranquillity.