MEDIA

02

WHAT ARE PEOPLE SAYING ABOUT ME?

"The central piece of the evening’s recital was the varnam in raga Kalyani, adi tala, composed by Geetapriyan. This composition showcased Arupa's mastery in handling the nritta and abhinaya with equal grace and precision.  In this varnam, the nayika tells her friend that this is the right time to go and bring her Lord Krishna to her... Arupa’s involved abhinaya in the varnam helped the audience connect with each and every line of the composition... The Devaranama Neenyako Ninna Hangyako set in Ragamalika, adi tala, was a composition of the saint poet Purandaradasa. Bhakti was the principle mood of this composition and this was ably portrayed by Arupa. Here the stories of Narasimha avatara and Draupadi Vastrapaharana were presented subtly without any exaggeration. Since this composition was in Kannada, the local audiences were delighted with the composition and Arupa’s portrayal of the same"

 

Radhika Shetty

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"A brilliant performance by Bharatnatyam dancer Arupa Lahiri regaled the viewers as the danseuse showcased effortless expressions and quick movements. Lahiri, who is a disciple of legendary Chennai based dancer Chitra Vishwesaran, performed on a varnam — a song from the Carnatic music repertoire set on adi talam. The dancer presented complex movements with ease and impressively described a tale of divine love through expressive facial gestures"

 

Telegraph India

"The Valedictory of Pallavothsava-2010 with Arupa Lahiry’s Bharatnatya was thrilling. She commenced with Ganesha Stuthi and proceeded to ‘Charukesi Varna’ filled with Nrutta, Nrithya and Abhinaya. She is a neat Bharatnatya Performer...."

 

 

 

The Mysore Mail

October 8, 2010

"Arupa Lahiry (Kolkatta), disciple of Chitra Visveswaran... had selected Lalgudi Jayaraman’s varnam in .... Charukesi... and did full justice to the lyrics that have plenty of scope for depiction. (Arupa) presented limited items, but with great beauty and involvement.... her ‘Yeno Avarkkenmel’ the padam in Simhedramadhyamam and the thillana in Rasikapriya were highly enjoyable..."

 

B. Ramadevi, The Hindu

August 22, 2008

"Ahalya’: Arupa Lahiry also presented a varnam but tweaked it by adding voice-overs and a thillana towards the end while presenting the character of Ahalya. Instead of the popular myth where Ahalya is tricked by Lord Indra, Arupa depicted it as Ahalya seeing through Indra’s disguise and willingly allowing his advances. In the choreography, the story narrated the life of Ahalya, right from her birth to her marriage to sage Gouthama, and the incident that caused the wrath of the sage and, finally, Rama releasing her from the curse. Arupa did her best in the abhinaya sequences to bring the character to life"

The Hindu

October 29, 2015

" 'A beautiful interpretation' : The movements of the opening piece by Arupa followed the patterns of Alaripu, whereas the mood followed the kriti which describes the dance of Krishna. In the Vachaspati varna 'Sakhiye’, the pangs of separation and yearning to unite, was well expressed. With her lively presence ArupaLahiri blended the Nritta and Abhinaya effortlessly. Dramatising the elements her interpretation of the devaranama (Chikkavane Ivanu) was pointed. "

Sri Mysore V Subramanya, Deccan Herald

July 15, 2016

"From costume to postures to nritta, Arupa lahiri’s depiction of the “Gaja Vahana” (tusker) was simply superb. She swung her hand indicating the elephant’s long trunk showering water on goddess Lakshmi, its presiding deity while her body moved in myriad ways synchronizing to the tala in complex yet flawless footwork. The entry of the Gaja to single syllabic utterance in slow, calculated gait heaving its heavy body was enacted with a natural grace. Evan as she heaved herself up as an elephant, at every juncture there was something to convey by way of a mudra, eye language and gesture not to talk of the lifting body. Arupa’s depiction on kheerasagara madanam to underline the story linking goddess to the tusker was rather unique and impressive. "

Ranee Kumar, The Hindu

November 18, 2016

" 'Sambad': The second evening of Jugalbandi was between Parvati and Lakshmi arguing whose husband is greater. Parvati played by Arupa Lahiry in Bharatanatyam and Lakshmi by T. Reddi Lakshmi in Kuchipudi; disciples of Guru Chitra Visweswaran and Guru Jayarama, Vanashree Rao respectively; open with Pushpanjali as a duet followed by Kautuvam composed in praise of the two goddesses in Khanda Nadai by Arupa and Vasudevan Iyengar where the lyrics serve as Patra-Pravesham of both Parvati and Lakshmi… The evening concludes with a vibrant duet by both the brilliant dancers on a Tillana in Revati raga composed by Maharajapuram Santhanam. The well-conceived Jugalbandi Festival also underlined the commonality and difference between both the dance styles. "

 

The Hindu

November 26, 2015

"Arupa's expertise in her Bharatnatyam mudras catches eye"

 

Sharmilla Basu Thakur, Shananda

March 3, 2007

".... an eye catching performance"

Indian Express

Dec 8, 2007

"Grace Personified"

Indian Express

November 2, 2014

"Arupa danced.... the conventional items of Bharatnatyam repertoire with much confidence"

The Telegraph

August 4, 2007

"Like a painting... Arupa Lahiri impressed with her spell-binding performance. She chose the ‘margam’ repertoire that was planned and executed with dedicated diligence. Arupa emerged as an artist who could sink into her medium with her abhinaya but could breathe life into the absolutely mathematical aspect of Bharatanatyam. Her eyes and facial expressions spoke to her gestures and it’s here that she looked a mirror image of her guru Chitra Visweswaran…"

 

Ranee Kumar, The Hindu

January 05 2017

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