Lucknow, Dec. 21 -- The performance of renowned singer Hariharan, who has contributed immensely to film music in Hindi and other languages, drew resonant applause at the Kalamandapam auditorium during the Bhatkhande Sanskriti Vishwavidyalaya's three-day centenary celebrations which concluded on Saturday. He began his performance with the ghazal 'Bekhayali mein chalan uska bataya usko' followed by 'Khuli jo aankh to woh tha na woh zamana tha' and 'Ranj ki jab guftagu hone lagi, aapse tum tumse tu hone lagi' set in Raga Kirmani, completely winning over the audience. He was accompanied by Ustad Liaqat Ali Khan on sarangi, Akhlaaq Hussain Warsi on harmonium, Dheeraj Rai Chura on guitar, Shadab Shakoori Bharati on tabla, and Satyajit Sanju on keyboards. Earlier, renowned Odissi dancer Ranjana Gauhar presented a special performance, portraying the story of Chitrangada, daughter of King Chitravahana of Manipur. The performance depicted how, in the absence of a son, the king trained Chitrangada in warfare. One day, the Pandava prince Arjuna is drawn to her and falls in love. Over time, Chitrangada realises that Arjuna loves her more for her beauty than for her true self. Torn by this inner conflict, she prays to Kamadeva and Vasanta Deva to grant her divine beauty. For a while, she assumes an extraordinarily beautiful form, and Arjuna is enchanted by it. Ultimately, however, Chitrangada realises that this beauty is not her truth. She accepts her real identity as an independent, self-respecting, and courageous woman and appears before Arjuna in her true form. Arjuna then recognises her truth and honours her. In the morning, a Kathak performance by Shovana Narayan left the audience enthralled. She began with a 'paran' based on Hari and Har (Vishnu and Shiva). This was followed by a Kathak portrayal of the episode in which the Pandavas lose the game of dice and the disrobing of Draupadi, expressed through powerful emotions and expressions. At the end, she presented a special piece narrating the story of Buddha through the voice of his wife Yashodhara. Through compositions such as Buddham Sharanam Gachchhami and Padharo Jan Jan Ke Bhagwan, she depicted Yashodhara's penance, waiting, restlessness and pain. Earlier, renowned tabla maestro Pandit Sanju Sahai performed Teentaal in the Banaras gharana style, showcasing both structured compositions and improvisational 'uthaan'....