HTAMF 2025 celebrates Tyagaraja’s legacy with soulful music, dance, and storytelling

The interplay between the flutists and violinist Bhatti Pavan Singh was mesmerising.
Vidwan Lalith Talluri & Vidwan Nagaraj Talluri
Vidwan Lalith Talluri & Vidwan Nagaraj Talluri
Updated on
3 min read

HYDERABAD: Feet tapped on the ground, hands clapped rhythmically, and hearts swayed to the soulful tunes of Tyagaraja at the 10th edition of the Hyderabad Tyagaraja Aradhana Music Festival 2025 (HTAMF), organised by Sanskriti Foundation. The amphitheatre at Shilparamam, brimming with music enthusiasts, turned into a sacred space of devotion and melody as Tyagaraja’s timeless compositions filled the air.

As dusk set in, electric lights bathed the venue in a golden glow. Surprisingly, the day’s celebrations began not with music or dance but with an enchanting Hari Katha recital by Sakambhari Kamesh, a ninth-grade student who took the stage with the poise of a seasoned storyteller.

Her narrative, blending captivating anecdotes from Tyagaraja’s life with his profound kritis, commanded the audience’s attention. Her mastery over storytelling, which was no less than that of her renowned guru, Visakha Hari, drew even passersby to stop and listen.

Supported by Vidwan KK Raghavan on the violin and Vidwan CH Vedant on the mridangam, Sakambhari effortlessly transitioned between narration and melodious renditions, earning admiration from young and old alike.

This spiritual journey was followed by a flute concert by the illustrious father-son duo, Vidwan Nagaraj Talluri and Vidwan Lalith Talluri. As they opened with Bantu Reeti Koluvu in Hamsanandi Raagam, set to Adi Taalam, the audience was transported to a world of tranquility and bliss.

Their mastery over the flute was evident as they rendered compositions like Brovabharama Raghurama in Bahudari (Adi Taalam), Shobillu Saptaswara in Jaganmohini (Roopaka Taalam), and the ethereal Samaja Vara Gamana in Hindolam (Adi Taalam). The interplay between the flutists and violinist Bhatti Pavan Singh was mesmerising. Their performance was further elevated by mridangam player R Sreekanth and ghatam player Janardhan.

As the audience got lost in the lingering echoes of the flute, Vidwan Srividya Angara took the stage with a captivating Kuchipudi performance titled Manomanthana.

Her recital, steeped in grace and emotion, began with the prayer song Sri Ganapati Ni Sevimpa Raade in Saurashtra Raagam and Adi Taalam. Through intricate footwork and expressive abhinaya, Srividya explored the profound inner conflicts of the human mind and heart, beautifully illustrated by Tyagaraja’s kritis.

Each sequence of the performance — the meditative Paraloka Saadhaname in Purvikalyani, the introspective Manasa Etulo in Malayamarutam, and the intense Nagumomu Ganaleni in Abheri — was both poignant and powerful. Her seamless transitions between contrasting moods kept the audience enthralled.

Srividya said, “In 2019, I had the distinct good fortune of premiering Manomanthana in front of the very vigrahas that Sri Tyagaraja himself used to worship. Because of the pandemic and subsequent commitments, I had to put this production on hold.

To bring it out now, after almost five years, and on a platform like HTAMF, is utterly fulfilling. The entire experience was filled with a generosity of spirit, brought out by the harmony of human endeavour and divine blessing.”

This vibrant day was just one part of the five-day festival celebrating Tyagaraja’s vast musical legacy. Day one already set the tone with enchanting vocal concerts by Vidwan Nihal, Vidwan Vaidyanathan Balasubramaniam, and Vidushi Haripriya of Hyderabad Sisters fame.

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