Humorous, interactive jugalbandi between the traditional & contemporary
Audio-visual storytelling, interweaving stories from everyday life & Indian mythology/ spirituality/ patriotism/ folk music.
Connecting World music cultures, in a celebration of unity amidst diversity.
A power-packed, traditional Tabla solo.
Classical repertoire of various Gharanas, presented with creativity, clarity & virtuosity, creating an instant rapport with the audience.
AUDIO
" The magnitude of Anuradha’s spirited effort shines through her nimble fingers. A true groundbreaker."
BBC fRoots Magazine
" Taaleem is Anokha (special) for it’s comprehensibility. Anokha Mazaa."
A.V. Max Magazine
PRESS CLIPPINGS
The New Indian Express
" Anuradha carries the methodical intuition of her Ustads, their clarity & showmanship in finger movements. Then, she has the dynamism, temperament & ‘presence’ of Pandit Kishan Maharaj, the tough lure for softness and detail of Pandit Shamta Prasad & a shooting madness for intrinsic fireworks of Ustad Ahmed Jan Thirakwa."
The Hindu
" She is as comfortable with following the tradition of her Punjab Gharana (she has imbibed the nuances of all the five gharanas) as she is with indulging in genre-free music. For Anuradha creativity is about extending frontiers, thinking beyond divides & being honest to the art. "
The Tribune
" She displayed dexterity playing typical ‘uthaans’ & ‘gats’ of Punjab Gharana… Amidst Laudatory claps from intrusive audience she embellished the Tabla bols with mathematical precision and artistic endurance. She delineated certain dialogues to the delight of the audience before concluding with an electrifying sequence of rela."
Hindustan Times
" Her music commands reverence… You want to shut your eyes because Anuradha is so strong as a performer, so perfectly placed in the competitive percussion world, that you really want to forget for a moment that she is a woman. You just want to focus on the music."
Narthaki
" Anuradha is beautiful in her brilliance when on stage, clear as much in her articulation as on Tabla. With rise and fall in pitch and pace of beats, she relates them to man-woman dialogue, Lord Nataraj’s damaru, Radha’s sulking mood, a horse’s gallop, a train crossing another and finally thunder, lightning and rain. One gets reminded of Pt. Birju Maharaj."
