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Transporting to celestial heights
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Padma Subrahmanyam presented a refreshing narrative theme embedded in Annamacharya compositions. Gudipoodi Srihari
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Photo: Nagara Gopal
Divine grace Padma Subrahmanyam
Padma Subrahmanyam appeared on the Hyderabad scene after a long time. She performed in the Classical Dance Festival held by the Department of Culture at Ravindra Bharati. She brought with her a refreshing narrative theme embedded in Annamacharya comp
ositions. In doing so, she literally lifted the audience to celestial heights. Such was her narrative skill that each of the kirtanas that generally lasts for four minutes in rendition took longer . As she presentedthe inner meaning of every line and word, her abhinaya drewgreat applause repeatedly.
The show was an objective lesson to the young dancers as to how to interpret an Annamacharya song with sancharies.
The compositions she chose were all refreshing, some set to music by her. She opened Ippuditu Kalaganti and gave a picture of how Annamayya as a child took to devotion and became part of the pilgrims walking up the hills to Tirumala.
As the tired boy rests, Alamelumanga, the consort of Lord Venkateswara gives him prasadam and disappears. This helped Annamayya to be what he later shaped into.
His first work was on Alamelumanga and he dedicated it to Lord Venkateswara. All these situations were presented with great skill and imagination by Padma. Then came the number Tiru Veedhula, an Annamayya composition set to Gambhira Nata and added with a Mallari, a melody generally played on Nadaswaram.
The song describes Brahmotsavams and also the whole atmosphere, including awe-struck devotees watching the lord being carried on a ratham.
The Shodasa Kalanidhiki piece too had the advantage of Padma’s imagination at work and showed all the sixteen ways of offerings to the Lord.
It ended with Padma actually lighting a Harati. It was followed by the Sanskrit song Bhavayami Gopala Balam popularised by M.S.Subbalakshmi. Khelana Khelana, a swing song compared everything that we do as a service to the Almighty and the four chains attached to the cradle are the four Vedas.
The popular Brahmamokkate Parabrahmamokkate had a different tune and the choreography was intricate. Padma asserted the point that ‘God is One’ repeating that word with dramatic appeal. This entire show was titled as ‘Annamayya Pratibha’ (greatness of Annamayya). Gayatri conducted the proceedings and also sang the krities. Vijayalakshmi also lent an added vocal support.
Nagai Sriram provided a spirited mridangam support. B. Kannan too lent a great support not only on veena but on percussion, Kanjira and Khol. Tanjavur Subbarao Babu on violin, Patanjali on flute added to the rich orchestral support.
Sobha Naidu’s Kuchipudi
Noted Kuchipudi exponent and guru Sobha Naiduperformed the full text of Bhama Kalapam on the opening day of the festival held at Ravindra Bharati.
The attraction that Sobha put before us was the full-fledged drama marked by ‘Paravesa Daruvus’ of important characters - Satyabhama and Krishna.
The plait of Satyabhama, part of her make-up was in itself an attraction. The plait of Satyabhama always gained significance for the very reason that it was described in puranas as presented by the three consorts (Saraswati, Lakshmi and Parvati) of the Trimurties - Brahma, Vishnu and Maheshwara respectively. The three spherical balls at its end represent the Tribhuvanas - Patala, Martya and Devalokas.
The initial scene was to first describe the Satyabhama `jada’ (plait) hung over the cloth curtain and only then the character of Satyabhama makes its presence with a `Paravesa Daruvu’ describing the character’s qualities. Sobha made every sequence look convincing.
The most important scenes that thrilled the audience were the `introductory song Bhamane Satyabhamane, Madana Madana that projected theVirahotkhanthita Nayaki and a few more sequences.
Every bit of the drama reflected Sobhanaidu’s performing acumen.
The play ended with the re-union of Krishna with Satyabhama. Raghunandan provided nattuvangam.
Mahankali Mohan played Sutradhara and also the roles of Madhava and Madhavi, male and female roles that accompany Satyabhama and Srikrishna.
The vocal support by Amalapuram Kanna Rao and Lavanyalatha went a long way in accentuating the appeal of the drama. P.R.C.Sarma gave apt support on mridangam. Sujatha Murthy played the brief role of Srikrishna.
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Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
