Saintly gems glitter with new charm
RUPA SRIKANTH
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`Sangeetha Sangamam' was a unique homage to Tyagaraja at the Narada Gana Sabha recently.
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VETERANS COME TOGETHER: Dhananjayan dancing to the music of Pasupathi, accompanied by Vellore Ramabhadran on the mridangam and VVS on the violin. Shanta Dhananjayan is the nattuvanar. Photo: S. R. Raghunathan.
Each announcement in the dance production `Sangeetha Sangamam' was greeted with an eager sigh of anticipation and the auditorium reverberated with the bhakti-soaked lyrics of Tyagaraja kritis, served by stalwarts such as D. Pasupathi (vocal), V. V. Subramaniam (violin) and Vellore Ramabhadran (mridangam). Echoing the same intensity of devotion was Dhananjayan who provided the visual angle to this feast. But this was no ordinary performance; in fact, the very absence of a performer made it so.
Vidwat of veterans
The homage to Tyagaraja was marked by simplicity. Though the stage was heavy with the collective vidwat of the veterans, there was a sense of selflessness that permeated the offerings. It was an unostentatious coming together of excellent music and aesthetic dance on a bedrock of devotion and philosophy.
Dressed in a simple costume of white and gold and almost shorn of adornment, Dhananjayan's interpretations were introspective and true to the spirit of the composer. Even through the subtly enacted sancharis the thread of Tyagaraja's intense lyricism was never lost. Well-known kritis were strung together as a seamless series of offerings and enhanced by V. V. Subramaniam's philosophical inputs. The whole effect was subtle; even the lighting was minimal and just enough to illuminate the area occupied by the artists.
Splendid vision
Each rendition was a gem starting with the Ninda Stuti in Khambodi, `Ma Janaki.' The build up in bhava was gradual, heralded by the beautiful `Siva Siva Siva Yenarada' in Pantuvarali ragam, Adi talam where the story of the hunter who worshipped Siva with bilva leaves was delineated. `Nannu Palimpa' (Mohanam, Adi talam), ushered in a splendid vision of Lord Rama while `Kshirasagarasayana' (Devagandhari, Adi), chronicled His miracles. The agony of the composer was mirrored in `Nagumomu' (Abheri, Adi), and by the time the strains of `Endaro Mahanubhavu' were heard there was a general reluctance to acknowledge the end of such a rich repast.
The mastermind behind this effort was Shantha Dhananjayan who conducted the proceedings with great restraint. The spirit of the Tyagaraja Aradhana at Narada Gana Sabha remained sacrosanct.
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