Poignant Dr Leela Samson | Enna vinaiyo idu | Raga Vasanta | Ravikiran's composition on Karna

This composition was composed in 2017, within an hour after a request by dance icon Leela Samson for an original composition portraying Karna's agony right after he meets his real mother, Kunti before the Mahabharata War. (This is not part of Ravikiran's Opera, Mahabharata, which had been composed and presented a few years earlier in collaboration with Prof C V Chandrashekhar, Pt Birju Maharaj, Kum Shashwati Sen and others.) Set in a poignant tempo, it is almost like a padam in its feel though it's not a romantic piece.
Presented in a special "Ravikiran Margam Concert" for Brahma Gana Sabha on 5 Jan 2018.
Enna vinaiyo idu
Ragam: Vasanta
Talam: Mishra Chapu
Vocal: Anahita & Apoorva Ravindran
Nattuvangam: Girish Madhu
Mrdangam: Karthikeyan Ramanathan
Flute: Sujith Nayak
Violin: Sanjay Suresh
Sangita Kalanidhi Chitravina N Ravikiran, hailed as the "Mozart of India" (Wisconsin State Journal) and renowned for his "Teasing precision & dazzling effects" (New York Times) and for "Taking his music to new audiences" (CNN TV) discovered a new raga, Choodamani at age 2 and composed his first full piece at age 11.
With over 800 compositions to his credit in 5 languages - Tamil, Sanskrit, Telugu, Hindi and Kannada - encompassing various music and dance forms like geetam, varnam, krti, tillana, padam, javali, chindu, bhajan, kavuttuvam, shabdam and his own innovative form swarakrti, maestro Ravikiran is among the most prolific topline composers in Indian Classical Music and Dance. His compositions include operatic and multi-cultural international dance productions such as Ramayana, Mahabharata, Lakshmi Prabhavam, Vinayaka Vaibhavam, Almighty Trinity, Savitri, Cosmos, Illusion to Resolution, Panchakriya and Pushed to the Edge.
Ravikiran was the first to compose in each of the 35 talas of Carnatic Music and also the 72-mela-ragamalika geetam. He is known for exploring interesting concepts such as "schematic svarakshara" pieces (where svaraksharas themselves have an underlying theme in each line like SR - RR - GR - MR or S,D - R,D - G,D- M,D etc) and innovative approaches to incorporating Raga-mudra (name of raga) in multiple ways within the same composition (like in the krti, "Adharam nee enakku" where the raga name Kedaram appears directly or suggestively 8-9 times). Known for discovering ragas like Keshavapriya, Vaishnavi, Katyayani, Mohini and Andhakarini, Ravikiran has also composed hundreds of pallavis (often extempore in his concerts) as well as introduced new approaches in rhythm including Seamless Korvais and Mathemagical patterns.
For more information on Ravikiran as composer including his contributions in world music and Melharmony collaborations with Western Classical, Jazz, Rock and other genres of music, please visit: en.wikipedia.org/wiki/Chitrav...

[@beautykerala7122]

Leela akka alwysss great

[@ramaajagadeesan2400]

What a composition and Leela ka's abhinaya ...... simply melted my heart .... vocals brought out the bhavam so much that it felt like karnan himself was singing out his plight

[@senprosun123]

No words to say about the legend are leela maam . God is made you maam . Your always amazing........ love you maam.

[@gayur6888]

Her feet is always in the correct form. Each movement back to the same posture.

[@janegomes6665]

Splendid

[@govardhanv926]

Im also shocked ,on what conditions she was allowed to dance in isha can anybody reply if they hav answers.i know she may be bharthanatyam dancer how my guru allowed her to perform their....she is anti-hindhu (seeking the answer)