Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
Admirable performance
DEFT STEPS Raghunandan and Tejaswini
Young dancer-duo Raghunandan and Tejaswini exhibited their admirable talents in Bharatanatya individually and together and made their performance at the Nayana auditorium as part of the Every Wednesday Evening Cultural Programmes series. Both of them
are trained by Guru B.K. Shyamprakash of Keshava College of Dance and Music.
The sapta-taaleshwari jatiswara created by the late Natyacharya H.R. Keshavamurthy set to ragamalika and mishra ekatala is a demanding one. It is essentially a nritta item. Raghunandan and Tejaswini negotiated the aduvus and jathi patterns saddled on to the composition quite deftly. The cues were picked up elegantly and the continuity of the laya and dance could be sustained. In the exposition of the familiar ‘Pogadirelo Ranga’ pada, Tejaswini’s histrionic capabilities came to the fore. Very inspiringly supported by Guru B.K. Shyamprakash (nattuvanga) and backed up usefully by Bharathi Venugopal (vocal), Sarvottham (flute) and Janardhana Rao (mridanga), the duo continued to regale the audience with the rendition of yet another HRK-composition “Navarasa Ramayana” (ragamalika, trishra nadai adi tala). As the very title suggests, the lyrics and the theme of the composition highlighted the nine basic elements on the basis of varied episodes drawn from the Ramayana. The dance-translation was not only communicative, but also artistic and rewarding.
Like a nayaki, a nayaka also pines for his beloved. . Such a viraha-tapta (pining) nayaka was brought to life in a neat abhinaya by Raghunandan through a Kannada pada “Enna mele kopa” (Kaanada).
Tejaswini followed it by depicting a swaadheena patita nayaki on the basis of a Bhairavi javali.
* * *
Simplicity of style, fluent presentations and adherence to the classicism of Carnatic music were the milestones of Revathi Sadashivam’s veena recital at Seva Sadana Hall, Malleswaram during the 38th music conference of the Karnataka Gana Kala Parishath.
Revathi began with a quaint varna in Mandari raga. Muthaiah Bhagavatar’s krithi in Gambheera Nata was rounded off with chittaiswaras plus kalpana swaras. Her artistry glowed in the alapana of Bilahari for “Paridaana michchite”, again attached with chittaiswaras and kalpanaswaras. Devagandhari was as it should be. Rendered in a leisurely pace, her expertise made the krithi “Kshitija Ramana” a shining example for the beauty of vilamba kala.
Her sincerity of purpose lent Poorvi Kalyani (Dikshitar’s “Kashi Vishalakshi”) and Todi (“Sri Krishnam Bhaja”) a classical status and artistic dignity. Seasoned mridangist and dynamic music-activist H.S. Sudheendra (mridanga) was in his best form. Sukanya Ramgopal on ghata proved to be a strong collaborator.
M. SURYA PRASAD
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
|
