Medha Hari's Bharatanatyam recital stood out for top-notch performances from the dancer, the nattuvanar (guru Anitha Guha), the mridangam player (Ram Shankar Babu) and the orchestra: Sashidharan (vocal), Ramesh (flute) and Muruganandam (violin). It was a skilful team that performed in tandem. The orchestration was excellent, as the melody makers backed the singer, and the percussionist backed the nattuvanar.
The navaragamalika varnam, ‘Saamiyai Azhaithodivaa Sakhiye Endan' (Adi, K.N. Dhandayuthapani Pillai) sparkled with crisply rendered theermanams and well-timed and executed steps. The theermanams before and immediately following the charanam stood out - the former for its rhythmic configuration and the latter for its symbolism of the Siva Thandavam. The last charana swara visualised again in detail the vibrant Siva Thandavam, this time with the active participation of Parvati, Vishnu, Brahma, Nandi and Narada in a beautiful tableau.
Challenging varnam
The musical demands of the challenging varnam were handled easily by Sashidharan, who had been roped in at short notice. The musical interlude denoting the spring season in Vasantha raga with a tanam was beautiful. Also noteworthy was the singer's navigation in the ragamalika chittuswara sahitya.
Medha is a bright and conscientious dancer, who was impressive from start to finish. Despite the restricted space of the Narada Gana Sabha Mini Hall, her nritta was not wanting in any department. As she matures, she can temper her expressions, so they may look more natural.
The devotional kriti on Rama in Manipravalam by Ambujam Krishna (‘Matada Bekayya,' Devagandhari, misra chapu) and the lively Dharmapuri Subbarayar javali, ‘Smarasundaraguni' (Paras) brought out Medha's expressive maturity, the latter was especially arresting because of the strong sthayi bhava of the confident heroine that was established early on. The performance concluded with the melodious Kanada thillana (Adi, Lalgudi Jayaraman).
