The Press and Critics have been highly appreciative of Aishwarya's talent and performances. We are grateful for their encouragement. We would like to recall some tributes Aishwarya has received:
Lyrical expressionsHARISH BAL
| Aiswarya Narayanaswamy’s recital was an amalgamation of grace and precise movements. |
LUCID AND GRACEFUL: Aiswarya Narayanaswamy.
http://www.hindu.com/fr/2009/08/07/stories/2009080751020200.htm
THE HINDU - Friday, Jan 23, 2009
LALITHASAI
Sparkling footwork
Aishwarya Narayanaswamy scored in both expression and nritta.
The dance presentation by Aishwarya Narayanaswamy for Kartik Fine Arts at the Dakshinamurthy Auditorium, (P.S. High School), found a captive audience. Opening the programme with a Mallari on Siva, Aishwarya presented ‘Thodudaya Seviyan,R 17; verse from Thevaram. Roudram and shantham were well captured in the Rudram that followed.
The varnam, ‘Nee Entha Mayam,’ (Dhanyasi), Sivan composition, was gripping. Soaked in bhakti sringara, it began with a dream sanchari and a love-lorn nayika came alive on stage. She dreamt of Lord Krishna holding her, teasing her and wilted in disappointment when on waking up she found herself alone.The line ‘Aayar Kula Deepamae Arul Tharai’ depicted Krishna through several poses. Aishwarya neatly presented baby Krishna stealing butter from the gopis, the child sucking the life out of the demon ‘Boothanai,’ Krishna lifting Govardhana and ‘Kalinganarthanam.’
Executed with aplomb.
The nritta that followed these sancharis had a musical pattern. Guru Anita’s diction was excellent. In the line ‘Sami Ni Kan Parai,’ madhura bhakti of the nayika was conveyed in a mature manner.
The jatis after this involved a lot of kuthadavu which Aishwarya executed with aplomb. The varnam was also laced with a lot of brahmaries and the theermanams were delivered with lightning speed. There was equal emphasis on the nritta and abhinaya in the piece.
Kalki’s composition, ‘Ponnammal Romba Pollathaval, for a change depicted the nayaka bhava. It was a folk song, ragamalika in thisra nadai. Aishwarya proved that she could convey a man’s emotions majestically even as she offered glimpses of the gentle nature of Ponnammal, who was shown watering the plants and caressing the calves.
In Tulasidas’s ‘Tumaku Tumaku Chalathu Ramachandra’ child Rama toddled, anklets tinkling, in the company of Dasaratha’s queens. It was a great attempt as Aishwarya alternated between the child Rama and mother Kausalya.
A sparkling tillana came as a fitting finale to the presentation. Guru Anita Guha’s nattuvangam was inspiring. Equally motivating was the orchestra comprising Randhini Ramanathan (vocal), Ram Shankar Babu (mridangam), Muruganandam (violin) and Ramesh (flute).
THE HINDU – 23- 02-2007
Impressive technique
RUPA SRIKANTH
Aishwarya performed with focus,
Aishwarya, a young collegian, has an impressive technique. Not only is she light on feet and energetic in her execution, she is accurate as well.
Her focus was evident early on, and the opening piece, a Pushpanjali in Gambhira Nattai ragam, Adi talam followed by the kriti, "Agara vaasa' composed by Kalyani Sundararajan on Sri Sathya Sai Baba (Nattai, Adi), was enough proof of the dancer's talent and industry. The brief Dasavatharam representations in the Dhandayuthapani Pillai varnam "Sakhiye indha jaalam' (Sankarabaranam, Adi), were presented with clarity. The nritta segments were crisply enunciated and performed.
NARTANAM MAGAZINE-2006
JAYA SMRITI – Mumbai.
K. Subadra Murthy
Aishwarya Narayanaswamy from Chennai impressed with her excellent performance. She has that special spark that makes an audience sit back and take notice even if she dances in a group.
A senior disciple of Guru Anita Guha, who has the knack of producing fine Bharata Natyam dancers, Aishwarya has performed in leading roles in her guru's dance dramas. Lithe and sprightly, with a pleasing mien, Aishwarya excelled in nritta, nritya and natya. She holds herself well and is light on her feet and charmed the audience with her graceful performance. She is a dancer to watch out for and is certain to make a mark as she evolves further.
Aishwarya began with a Pushpanjali in GambheeranattaL A fine depiction of Yoga Narasimha in a composition by Kalyani Sundaram was succeeded by Sankara srigiri, a Swati Thirunal Kriti in Hamsanandi.
In this Aishwarya elaborated the episode where Shiva destroys Ravana's ego when he dared to lift Kailasa, The repentant Ravana seeks forgiveness by-playing soulful music on a veena he created by chopping off his own head to make the resonator and his to form the strings. The choreography and the dancing were impressive, the handling the transition from one emotion to another wise ease.
THE HINDU NEW DELHI EDITION DT – 28-07-2006
Gurus' ingenuity
( LEELA VENKATARAMAN )
SIMPLY MESMERISING Aishwarya Narayanaswamy who gave a scintillating performance at New Delhi's India International Centre.
Arguably one of the most gifted Bharatanatyam dancers, 21-year-old Chennai-based Aishwarya Narayanaswamy's outstanding recital at the India International Centre, deflated strident criticism about the 'already seen' quality of the traditional margam repertoire.
A natural dancer with a fine presence, effortless in creating the awesome precision of "araimandi”, line and laya in any tempo, Aishwarya also packs a punch with the internalised depth of abhinaya.
Right from the riveting power of the one-legged stance with torso swivelling from side to side, two hands clawed in simha mudra, representing the man/lion in the invocation "Agaravaasa Yoga Narasimha" strung on to the Gambhiranattai Pushpanjali, to the myriad images strung round the "Pagalum iravum" (day and night) phrase in the Shankarabharanam Dandayudhapani Pillai varnam " Sakhiye inda jaalam enadi" visualising thoughts of the Lord Venkateswara unconsciously intruding into the activities of the love-struck nayika, the suggestive and subtle dance treatment was never literal nor hackneyed. The tight nritta interludes had a lightning impact in the tonal changes and rhythmic contrasts, without being needlessly over-spun.
And at any speed, Aishwarya's dance never forfeited the clean look, never Frenzied.
The Statesman, New Delhi--28-07-06
A FISTFUL OF SUNLIGHT
Aishwarya narayanaswamy, If her recent dance recital…, will redefine the standards of Bharathnatyam in the future years, says… Lada Guruden Singh.
A blessed performer, Aishwarya is one of the dancer that this writer would bet on as dance divas, of the new generation of Bharatanatyam dancer.
A star disciple of Anitha Guha from Chennai, Aishwarya has been moulded to perfection by her guru.
Critics are not supposed to be biased, but here is why this writer could be for any dancer who is in Aishwarya's league. One the knowledge of the geometry of the body.
Aishwarya and her guru rendered a fantastic Ghambiram Pushpanjali, synchronising the triangles uf aradhmandli and a taut torso-spine movement with precise triangular movements in the opening number. The viogour of-the dancer was carefully balanced with a very benign expression on her face. Endowed with expressive eyes, Aishwarya connected with at least this writer, right frorn the, beginning. Her from and extension of her passion for perfection even in Dola position, was a pointer to the serious competition she is bound to become to the leading dancers of our times.
Balancing satvikta with sthiriha. It's very rare that a dancer is able to maintain his/her grip over nritta while still dancing lor himself/herself. Aishwarya did just that in the Varnam dedicated to Venkateshwara, the lord of the seven hills, in Shankarabhaianam raga.
Aishwarya's dance, if she remains focused and the adulation does not blind her, will redefine the standards of Bharatanaryam in corning years. Delhi needs more, of this artiste.
This Ash is great too
The Indian Express and R.Srinivasan
Aishwarya Narayanaswamy's solo Bharatanatyam recital was extremely delightful and fulfilled all the exacting standards of this fine art form.
Even the most hardened-critic would admit, with-out reservations, that Aishwarya is a great dancer.
Her stamina, one-legged stances, sculptured poses, picturisations were all truly classy.
Her commitment is complete. No wonder, therefore, that she holds such astonishing potential and rare promise.
:: "Aishwarya is a child Prodigy" - Guru Adayar Lakshmanan.
:: "This is not only a 'first programme', but a 'first class programme'"
- R Krishnaswamy, Secretary, Naradha Gana Sabha
:: "A god-gifted child and a No.1 dancer for the next generation"
- Kalaimamani Krishnakumari Narendran.
:: "Vilaym Payi Mulaiyile" -
Smt. Nandini Ramani dance critic, The Hindu
:: "Pathu Vayadhu Bharatha Puyal"
- Kungumam , Tamil Magaxine
