Nirupama adopted a leisurely pace to finish each adavus with finesse.
A strong and accomplished musical team as accompanists play an important role in enhancing a dance performance and Nirupama Vaidyanathan had this advantage at her dance recital for Kartik Fine Arts. Be it in the mellifluous rendering of the raga Anandabhairavi by vocalist Hariprasad or raga Nilambari’s soothing notes on the violin by Sikamani, the rhythmic flourishes on the mridangam by Nellai Kannan or powerful sollukattus of Swamimalai Suresh, the musicians maintained a level of excellence throughout the evening.
Nirupama began her recital with a pushpanjali in raga Neetimati composed by Hariprasad which was followed by a sloka ‘Manikaveena’ from Shyamala Dhandakam. The strong foundation which she received from her guru Swamimalai S.K. Rajaratnam was evident in the Anandabhairavi varnam ‘Sakhiye.’ There were no unnessesary elaborations either in the jati korvais or abhinaya sequences, keeping it communicative and minimalistic. The leisurely pace allowed her to complete each adavu and lakshanamudras with finesse without jerky movements.
The plight of Devaki, bemoaning her misfortune of not being able to enjoy the beautiful moments with Krishna, which was bestowed on Yashoda was portrayed with subtle nuances in Kulasekara Azhwar’s poem in raga Nilambari. The shift in emotions - from intense joy to despair – was handled with competence by the dancer. Krishna continued to be the focus in the Kaapi raga, Purandaradasa kriti ‘Jagadhodharana.’
The vatsalya bhava of Yashoda and her pride of being the mother of the wonder child was captured with little sequences wherein she cajoles, chides and taunts the child. Even a reference to Narasimha Avatara was done without dramatic exaggerations. The Maund tillana of Lalgudi Jayaraman, which was rendered as a grand finale, left us with a feeling of deep satisfaction of having witnessed a good and traditional Bharatanatyam margam, without unnecessary frills and fancies.