Aishwarya Balasubramanian | Photo Credit: Eympan Arumugam

Aishwarya Balasubramanian is a well -round dancer, whose performance reflects her growing maturity as an artist. Started with an interesting wreath in Ragamalika, composed by violin player Ezar Ramakrishnan, and offbeat USI Solace, which was fully intoned by Nattuvanar Jayashree Ramanathan, she was fully intoned by Nattuvanar Jayashree Ramanathan, she Pongal Dance Festival of Shri Krishna Gana Display a good sense of time in.

After Aishwarya, Sadir-Shoreer Jatendra Hirsfeld, who advocates focusing on the heroine bhava in heroine-centered compositions, compared to drawing attention to Nyca, as today’s practice, as a strong, seren woman As explained, believes in ‘Mohlahiri’ about the love of Rajagopala. ‘(Todi, Adi, Sivanandam). She moves in her presence, smiling smiling.

The dancer used Props to show the nuances of Sringara Rasa

A student of Anita Guha, the dancer, made scenes of Sriingara using a painting’s props, which she talks, a feather that reminds her of the touch of the hero, and a calf that reminds her. The yearning was there, but it was light and the case. Bhakti, as the hero was Rajagopala, was present, but did not give extreme emphasis. In fact, Aishwarya introduced a Ra-Leela, shared her beloved with other women to show how much understanding she was. She almost physically suffers debuting, which is’ waiting happily for her.

Mridajist Ram Shankar Babu’s batch was rhythmic, but did not look attractive during the first piece. Credit goes to Jayashree for his firm, soothing intimacy. Aishwarya is light on her feet, but avoids steps with Aramandi. His pony-mattu showed the deepest seat and vice versa was dramatic. Some vested steps will be welcomed.

Music and dance mixedly mixed | Photo Credit: Eympan Arumugam

The music came together very well: the best of Hariprasad, and possibly evening, Natakurunji was ‘Wazi Marathirukkud’ (Adi, Gopalakrishna Bharati). Melody flowed while the collision was Vineet. Aishwarya was suitable mature without overdoing the Pathos. When Nandi moves, there was some build-up for the highpoint, and it was avoidable.

While Ezver’s violin was sweet all the time, he also shone in Mand Thilana (Adi, Lalguri Jayaraman). Sujit Naik (flute) was also tuneful. The dancer was well rehearsed and performed concluding with good times and energy.