On the second day of Natarajotsava – 2012, under the auspices of Vasundhara Performing Arts Centre, Udayakiran (vocal) and Sujay Shanbhag (Bharatanatya) kept the audience spellbound at Jaganmohana Palace Auditorium, Mysore.
K.T. Udayakiran's voice is richly resonant, expressive, and accommodative. His style is majestic and composed. The alapanas , for example, develop methodically in progressive stages fortified by fine graces: delineation of the personality of the raga unfolded and flourished in full force. s Interpretations of the compositions, reinforced by stresses on their lyrical contents, were a boon to the listeners, helping them to go deep into the themes.
“Shriramachandro Rakshathu Maam” (Shriranjani –Dikshithar) served as the focus of the concert. Within the stipulated time, Udayakiran's professional competence flowed to expand Shriranjani. Melodious passages and fine graces made it an enriching artistic experience.
Further, neraval at the pallavi followed by swarakalpana prompted for a reiteration of the above merits. Nevertheless, the artiste could have simplified the framing of the swarakalpana in certain areas for a pleasing and smooth melodic flow, keeping in view the general import of the lyrics. Thani avarthana, by Nataraj, displayed all the elements of a good percussive art. Adithi Krishnaprakash, on the violin provided melody support.
Other interesting numbers were “Shrirama Saraswathi Sevitham” (Naasamani – Dikshithar, Haridasulu Vedalu (Yamunakalyani – Thyagaraja) and “Ramam Bhaje Shyamam” (Durga - Swami Dayananda Saraswathi).
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Sujay Shanbhag's Bharathanatya brought a lot of audience appreciation, through his meticulously balanced ingredients of Pandanallur style of dancing. He moved between vilamba and madhyama kaala -s, created sufficient space for , body movements, excellent facial expressions facilitating smooth transitions from one mood to another.
Lively nrutha sections featured Pushpanjali (Vasundhara Doraswamy). The dancer beautified the passages with acutely described nruthahastas , fully drawn vinyasa -s and attractive sthanakas . Further, observe the varieties of arudhis he executed in concluding stages of pure dance passages. He was graceful in assuming the desired postures, though stability in balancing postures fell short of expectations.
The vision of the composer, Papanasham Sivan, fully materialised in “Swamy Naan Unran Adimai” (Padavarna) wherein his involvement and fluency played vital roles in expressing the moods of devotion. In order to enhance and interpret the theme, he selected the story of Markandeya as sanchari bhaava andelaborated it in phases, spread across the entire number.
“Tamburi Meetidava” of Purandaradasa in Sindhubhairavi gave him scope for abhinay a which he enriched by demonstrating the six enemies of the mind ( arishatvargas ). Nevertheless, moha appeared more like vaatsalya than the intended delusion.
Choreography was by guru Vasundhara Doraswamy, who was the nattuvanar as well. Deepti Shreenath (vocal), Hanumantharaju (mridanga) and Narayana (violin) constituted the music ensemble.
