Music of production was a mixture of east and west photo credits: Special arrangements

It is no meaning for a contemporary audience to rebuild an ancient Sanskrit drama. During a brief post-demonstration chat, Muralitharan shared, “This included a lot of research and took about a year to choreographed music and dance. For roping in Budapest Scoring Orchestra, because I am familiar with their work, I was eager to come up with a production where I could include them. This is the first time they are collaborating with an Indian classical dancer. I felt Abhijannakantalam Beautifully lended himself for this mixture of music. ,

Conducted under the aegis of Alap at Sir Mutha Venkatasuba Rao Concert Hall, the music began with a fiery number set to the tune of Nagasvaram, where a group of dancers paid obedience to Saraswati.

Nature played an integral role Abijannakantalam Reflecting the mood of the characters. , Photo Credit: Special Arrangement

The dancers were accurate in executing complex footwork and expressed a series of emotions through their expressive eyes. Music Sangat kept the right pace. In this case, the story came out through Sutradhar’s statement, in this case, Shakanta birds who get initially and abandoned children take care of Shakantala.

Muralitharan was assisted in choreography by Kavya Muralitharan and Chithra Muralitharan.

Light, dress and animation added to the visual appeal. Photo Credit: Special Arrangement

Nature plays an integral role in drama, reflecting the mood of each character. Sanskrit verses were determined to tune by Muralitharan, and instruments included senior artists such as Rajesh Vaidya, Mridingam, Kanjira, Chendai and Mathalam, and senior artists on Raghavendra on Veena. Muralitharan’s composition in Vijayavasantam was presented by more than 60 members of the Budapest Scoring Orchestra, operated by the Zolton Pad and scored and orchestrated by Balaji Gopinath.

Prakash, costumes and animation rebuilt the delightful world of the play.