The open-air theatre at the Isha Yoga Centre, with the backdrop of the Linga Bhairavi shrine in the verdant Velliangiri hills in Coimbatore, came alive with the opening of the seven-day Yaksha Festival of Dance and Music.
It began with a Bharatanatyam recital by Malavika Sarukkai. Dedicating her performance to her good friend, the late Francis Waczing, Malavika’s dance was a triumph of creativity. Her obeisance to Lord Siva, the cosmic dancer and the following invocation to the Goddess in Nilambari were a combination of enchanting music, sensitive abhinaya and skilful footwork. Her angika abhinaya was an arresting spectacle.
Malavika’s depiction of ‘Mareechavadham’, drawn from Tuslidas’s Ram Charit Manas, with the appearance of Maricha and his pursuit of the golden deer, Rama’s shooting of the animal and the gods showering the petals, was done with panache. The repeated imagery and hand gestures accompanied by precise footwork invested her recital with an abstract quality.
Papanasam Sivan’s ‘Ennathavam Seidanai’ (Kapi) portraying the Yashoda’s relationship with Lord Krishna, whipped up the dancer’s devotional frenzy. The lilting thillana in Brindavanasaranga was a sight to behold!
Music by Murali Parthasarathy and Bagyalakshmi’s was delightful as were the accompanists that included Srilakshmi Venkataramani (violin), Sreelatha (nattuvangam) and Nellai Balaji (mridangam).
The violin trio concert of V.V.Subramaniam, V.V. Ravi and V.V.S.Murari with vocal support from Raghava Krishna, was a concerted effort to create a symphony.
Adhering meticulously to the time factor, the instrumentalists shone as they played time-tested numbers in sync and yet maintained their individuality. Commencing their recital with a special Sanskrit composition in praise of Dhyanalingam in Shiv Kalyan, their renditions of ‘Ekamresanayike’ followed by ‘Nadhathanumanisam’ created a rapport with the listeners. The alapana of Purvikalyani for the kriti, ‘Anandanadamaduvar’ was replete with proficient passages.
The trio’s raga delineation of Anandabhairavi for ‘Oh! Jagadamba’ and their proficiency in the swaras exchanges after a feisty niraval, was admirable display of timing and arithmetic acumen.
The percussion group of Narendran (mridangam) and Radhakrishnan (ghatam) efficiently favoured the main artists with adequate decibel interventions, including a vibrant tani. The creative finesse and sense of balance in the vocalist’s support was enjoyable.
Hindustani vocalist Pt. Venkatesh Kumar’s husky and vibrant singing style had the rasikas absorbed in his music. An exponent of the Gwalior and Patiala Kirana gharanas, he commenced his session with a vilambit ek taal in Raag Purvi. After a brief alap, the gat, ‘Tum Bi Na Aur Kaun’ was arresting. The Kirana Gharana style of khayal stood out in his akara and sargam delineations.
This was followed by a teen taal gat ‘Muraliya Mohana Re Tum Aa Bhaje’ with niraval on these lines. The composition, ‘Theeratha Karo Sab Kare Deva Puja Karo’ in vilambit jhap taal in Tilak Kamod offered a sober and contemplative spell.
The hymn in Durga, vilambit ek taal, ‘Sakhi More Ruma Roopa’ followed by ‘Jai Jai Jai Durgaji Mata Bhavani,’ was reminiscent of the late Pt. Bhimsen Joshi and was presented with devotional fervour. Pt. Venkatesh Kumar concluded with two light bhajans. His disciple, Basavaraju, provided solid vocal support, while Samar Saha (tabla) and Vyasmurtikatti (harmonium) were fine accompanists.
Known for his uncompromising stand, Vijay Siva to give quality music on the fourth day of the Yaksha fest. He presented ‘Nadahathanumanism’ with aplomb followed by ‘Innum Paramukhameno’ (Begada) with pleasing niraval and swaras. His sketch of Anandabhairavi for the Syama Sastry composition, ‘Mariveregathi,’ with methodical and systematically arranged sancharas drew audience appreciation.
Vijay Siva’s rendition of Dikshitar’s ‘Jambupathe’ in Yamunakalyani with niraval, was rhetoric of spontaneity. Papanasam Sivan’s ‘Nadamadum Deivam Nee’ was pleasing to the ear. Siva brought out the raga bhava and the emotional appeal of Hindolam in Tyagaraja’s ‘Manasuloni.’
Violinist Chandramouli provided valuable support in the alapanas, niraval and swara sallies. Manoj Siva (mridangam) proved to be asset to the cutcheri with his tonal variations in the tani.
(krishangan@gmail.com)
