Global Stages: Taking Carnatic Veena Music Abroad
My veena has taken me from local Bengaluru sabhas to churches in Amsterdam and festival halls in Germany. Music has no borders, and I love sharing the depth of Carnatic traditions with international audiences.
At a lecture demonstration and workshop during the Musica Sacra festival in Germany. I love sharing not just the music, but also the stories and knowledge behind Carnatic traditions with international audiences.
Our first concert of the tour in Groningen, Netherlands, was a huge hit with the Dutch audience. Here I am with my new band, rehearsing for our next show in Amsterdam.
A concert in a beautiful church in Amsterdam. The acoustics were heavenly, and it was a unique experience to fill such a sacred Western space with the sound of the veena.
A happy selfie after the last concert of the grand Musica Sacra International festival in Germany. It was an incredible tour with maravilhoso musicians.
With my international collaborators after a fabulous show at Windmills. We had so much fun performing, and it was lovely to see so many fans in the audience.
Off to the last concert of our fabulous tour in Marktoberdorf, Germany. The life of a touring artist is always on the move, but filled with exciting new experiences.
At the sound check before the inaugural concert at the Musica Sacra festival in Germany. This is where we fine-tune everything to make sure the performance is perfect.
A full view of our concert in a rustic hall in Sontheim, Germany. We played to a packed house, and for many, it was their first time listening to Carnatic music.
The audience interaction part of our show in Germany. It's wonderful to see people from different cultures engaging so enthusiastically with our music.
Recording at Pramat Studio for our crossover album 'Advaita Crescendo'. It was a fun and creative session with my band, blending different musical worlds.
About Global Stages: My Music Abroad
Touring internationally requires more than just performance. We carefully manage technical setups, such as balancing sound for diverse acoustics in venues like churches or rustic halls, to ensure the resonance of the Tarangini Veena translates perfectly, whether the audience is hearing Carnatic music for the first time or the hundredth.
Performing abroad brings a different kind of energy. In venues like the Musica Sacra festival in Germany or heritage churches in Amsterdam, the acoustics differ vastly from the traditional sabhas I am used to in Bengaluru. That is where the work happens, as sound checks are non-negotiable. I work closely with my co-artists to fine-tune our setup, balancing the mrudangam and ghatam so the sound fills the space without losing the clarity of the veena.
It is fascinating to see people in places like Groningen or Sontheim engage with Carnatic music. I often conduct lecture demonstrations before concerts to share the stories behind our ragas and talas. It turns a performance into a conversation, helping international listeners connect with the tradition. Whether it is a crossover project like 'Advaita Crescendo' or a traditional solo recital, my goal remains the same: sharing the soul of my music across cultures.
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