A music and dance feast
OUTSTANDING Uma Rao's group gave a fine performance
Violin duo by Mysore Nagaraj and Manjunath was exceptionally good at the recently concluded Chandanotsva organised by Bangalore Doordarshan at Kalamandira, Mysore. Melodious alapana and the innovative svara prastara in raga Mohana ("Sada Palaya") was followed by a captivating Sindhu Bhairavi.
Similarly the instrumental trio by Rajalakshmi (veena) H.K. Narasimha Murthy (violin) and Smitha (flute) was another significant performance. Muthuswamy Dixitar's composition "Sri Kanthimathi" in raga Hemavati was rendered with appreciable homogeneity. However, a sporadic melodic support on the flute was a setback for the success of the performance. Both the events were supported by Shiva Shankara Swamy on mridanga, and Ramesh on mrichangi.
A Bharathanatya dance feature designed and choreographed by Uma Rao an alumni of Kalakshetra, Chennai, was eye-catching despite the poor quality of mridanga (Shashishankar). Impeccable artistry in the performance of adavus, gaits and abhinaya by the artistes were praiseworthy. "Om namo Mahishasdura mardhini" a rare composition of Raja Gururajacharya tuned in ragas Keervani, Bhairavi, Saramathi, Sunadavinodini and Ranjani describing the various forms of the Goddess Chamundeswari with iconic postures were meaningful. The creative imagination of metaphoric significance while depicting poet P.T. Narasimhachar's "Brindavanadolu" in raga Marva with that of Lord Krishna's Rasaleela on the banks of river Yamuna were stimulating. Nrutya Vaividya, that showcased the main dance forms of India, Bharathanatya, Mohiniattam and Kathak in ragamalika tillana (dedicated to Nalvadi Krishnaraja Wadiyar) was outstanding. Choreography and music were noteworthy. Vocal support by Radha Thandaveswar is worth mention. Parimala Guruswamy, Neha Lakshmish, Prathima, Seema Jagadish, Yashaswini, and Priya put up a good show.
The enthralling Mohiniattam by Sneha Harikumar during the Pallavotsava-2005 at Jaganmohan Palace was an example of dedication to art, where the artiste merged with the art form. While narrating the epics of Kamadahana, Ksherasagara Manthana (Churning the Milky ocean), the story of Markandeya and birth of Lord Ayyappa, the involvement of the artiste in sanchari was remarkable. The notable part of the performance was the accuracy in aremandi postures. Pleasing angasoustava and melodious music ensemble by Kalamandalam Jayaprakash, Nandakumar (edakka) Rajesh ( flute) enriched the performance.
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