The accomplished Ganapathi Bhat Hasanagi's recital was highly skilled

Nrityagiri Performing Arts and Research Centre conducted Nritya Saptaha, inviting artistes of high rank, in addition to providing platforms to young artistes of maturing talents to perform dance and music. The Department of Kannada Culture had shared the sponsorship of the weeklong events.

Ganapathi Bhat Hasanagi sang, beginning his concert with Yaman. The accomplished artiste's vocal rage is remarkable as it preserves its resonance and consistency irrespective of the saptaks. Composure is another factor governing his style.

With these plus points he presented “Banra Mora”, expatiating the cheez, emphasising on the lyrical import the compositions carried. Ample time devoted for the bol-aalap played a significant role in providing a strong support for his expressions.

In his endeavours, taans and sargams played a minor role in terms of duration; yet, he won the accolades of the listeners with those few strains he developed with competent ease and proficiency. Nevertheless, the mature artiste could have abstained himself from frequently protracting the nilugades for unduly long duration. Though such feats won him quick applauses, they appeared flashy.

Moreover, the patterns of the sargams he framed, gave an impression of an obtrusive predisposition: and therefore, instead of lending support to the melodic aspects of Yaman, proved ostentatious.

“Eri Aali Piya Bina”, rendered in madhya and druth laya was more impressive than the vilambit section. He charged the movements with emotive aspects the lyrics warranted and the raga extended. Moreover, his versatility in inflecting the chords, control over the subtle graces and freely emerging fluency cast their lasting spells on the ears and the mind.

“Jai Matha Bhavani” in Hamsadhwani comprised all the above ingredients carrying more or less same impressions as the earlier one. “Kande Na Govindana” (Purandaradasa) proved dramatic.

Veerabhadrayya Hiremath (harmonium) and Gopalakrishna Hegde accompanied Hasanagi.

Ganabharathi had organised Tarunabharathi in celebration of Purandara Tyagaraja Sangeetotsava. Young artistes participated demonstrating their learning, and paid tributes to the vaggeyakaras.

M.R. Shriharsha's vocal concert drew a mixed response. Where as he left not no doubt as to his musical potentials from the perspective of dedication, his approach left room for reservations as to the appropriateness of the path he was treading. Chethan (violin) and Eshwari (mridanga) accompanied the singer.

Observe “Saamajavaragamana” (Hindola-Tyagaraja) for an overview. Short sangathis, which he added to the pallavi and anupallavi seemed superfluous as if deliberately thrust into the progressions, rather than being prompted by spontaneity.

His supple voice co-operated well with his imaginations and inclinations; at times in the inspired gush of progressions, there were instances of losing balance with respect to swara sthanas.

One of the factors that impressed was the clarity he maintained in the narrative sequences. Whether a Varna (“Eranapai” — Todi - Patnam) or a Keertana (“Seethapathe” – Khamach - Tyagaraja, for example), he sang them melodically, though one wished them majestically presented.

The concert comprised mainly Purandaradasa's “Nanenamadideno Venkataramana”, “Jagadhodharana”, “Naaneke Badavanu”, “Innu Dayabarade Badavanamele” and so on.