Fine detailing enriched Kripa's character studies while Sampagodu Vighnaraja's performance was good in parts
Kripa Phadake's Bharatanatya (Ganabharathi) focused predominantly on the abhinaya aspects, and as such, the concert turned out to be a pleasing accomplishment. She substantially animated the characters under interpretation.
In the entire process, the timely extempore of the accompanists, Rajeshwari Pandit (vocal), Rupashri (natuvanga), Krishnaprasad (flute) and H.L. Shivashankaraswamy (mridanga) liberally enriched the outcome.
With the Ramayana Shabdam, her involvement and impressive expressions began capturing the audience. She enlivened Sita, Rama and Ravana, in the Sitaswayamvara sequence with fine detailing.
Sithapaharana and Lankadahana two more sequences narrated with utmost clarity amply represented Aranyakanda and Sundarakanda: Kripa established herself, as one of the artistes of high rank, through alluring saathvikaabhinaya, the story providing a strong matrix for all her endeavors. Swamiya Karethare (Varna-Amrithavarshini- Geetha Seetharam) was another number rising to great heights.
Observe how she portrayed Kuchela in the Devaranama, Kadagola Taarenna. A blend of varied sentimental factors — anticipation, uncertainty, devotion, humbleness and simplicity, shaped Kuchela, the intimate childhood friend of Lord Krishna.
Thillana (Shivashakti- Nagamani Shrinath) focusing on Kanakadasa was another impressive inclusion.
Sampagodu Vighnaraja, a young singer of high potential, sang at Shri Krishna Gana Sabha. Jyotsna Shrikanth (violin), G. S. Ramanujam (mridanga) and S. Manjunath (Ghata) accompanied the singer.
The concert started with Ninnukoriyunnanura (Varna-Mohana -Ramanathapuram Shrinivasa Iyengar). It took considerable time to catch the lyrics, though the raga could be sensed with some difficulty. The reason was tremendous speed and quick successions in nade seriously compromising the majesty of the Varna and mauling the beauty of the raga.
Vasantha Puradri Shivagra Nivasam was an excellent composition as far as the lyrics were concerned. D.S. Suryanarayana Bhat has imaginatively composed the piece into which he has incorporated strains of swaras (it appeared so, in the din of the galloping progressions).
Disappointingly, neither the diction nor the pace did any justice to the above composition, except the beginning sangathis, which raised some hope of melodic movements. Alapana that proceeded and the swaraprastara that followed did not make any difference as to the general impact.
Take one more example — Raga-Thana Pallavi (Govardhanadhara) in Shubhapantuvarali. Undoubtedly, in some areas he was remarkable in expressions full of sentiments. However, such movements were transient. On the contrary, Jyotsna's restraints and composure, exemplarily developed Shubhapantuvarali exposed its relish in an admirable fashion.
Though the swaraprastara sections passed through different ragas, the lack of sufficient musical pauses and necessary interval between the swaras to facilitate indicative gamaka, the ragas lost their charm, and almost passed unnoticed.
It was a relief that the percussionists judiciously cut short thani avarthana, as the nature of general progressions had already subjected the concert to suffer volley of beats.
Other compositions: Raave Himagiri (Swarajathi-Thodi-Shyamashastri — sung emotively, and was pleasant), Venuganaloluni (Kedaragoula-Thyagaraja — with an alapana and neraval at Vikasithapankaja), Mokshamugalada (Saaramati-Thyagaraja) and others.