Devotion always wins, more so when it is unalloyed. Such was the devotion of Prahlada towards Vishnu, in the opera Prahlada Bhakti Vijayam by Tyagaraja.
To commemorate the 250th birth anniversary of Tyagaraja and as a tribute to the memory of her guru Nedunuri Krishnamurthy (whose birth anniversary passed recently), Padmavathi Thyagaraju supported by her disciples (Rajalakshmi Iyer, Shrinidhi Nandita, Ramya Harike, Vaidehi Poojyam and Nagarajan Ganapati), presented Geya Natakam at the Mini Auditorium of Fine Arts Society, Chembur.
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The pictures of Saraswati, Tyagaraja and Nedunuri were garlanded by the chief guest Jalandhara Chandramohan, sociologist, spiritualist and story writer, who addressed the audience in
“Having imbibed the norms and grammar of Yakshagana from his grandfather Giriraja, Tyagaraja composed Prahlada Bhakti Vijayam ,” informed PH.Thyagaraju, in his welcome speech. “This is the Vishwaroopam of Tyagaraja’s creativity. He could identify himself with Prahlada’s devotion.”
The stage backdrop, with scenes from the opera, were specially designed by an artist from Hyderabad for this event.
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The orchestra — Ravi Anantharaman (violin), Hema Balasubramanian (flute), Saipriya Vishwanathan (veena), Aditya Rajagopalan (mridangam) and R. C. Sekar (ghatam) — was a great support to the vocalist.
Shrishti Iyer narrated the story crisply in brief interludes.
Post a prarthana, ‘Sri Janaki Manohara’ and ‘Vani Ninuvede’ invocation to Vani, the Geya Natakam began with a summary sketch.
Natya Ganapati was invoked in ‘Sree Ganapatini’ in Saurashtram. The Dwarapalaka’s entry and enquiries and responses came in the form of ‘Gadagadani Nadala’ and the familiar, ‘Vasudevayani’ in Kalyani.
Prahlada is thrown into the ocean and Samudraraja prepares to welcome him in a golden chariot. He adorns the palace and is dressed in fine clothing and jewellery. (‘Hariyu Prahladundu’).
Garuda summoned
Seeing the unconscious Prahlada bound in Nagapasana, Samudraraja invokes Garuda ‘Vinataasuta rara.’ Prahlada regains consciousness and apologises for not respecting the King of Oceans with ‘Eppudu Ven chesitiro’. He seeks counsel as to why Vishnu is ignoring him, ‘Vaaridhi neeku.’ Samudraraj consoles him with ‘Vacchunu Hari’ and Prahlad finds renewed vigour.
Dandakam with ‘Vandanamu Raghunandana’ followed with supplication. The violin brought out the emotion explicitly in ‘Sree Bhakta Hruttapa’ in Sahana.
Prahlada laments ‘Induka Yi Tanuvunu’— the voice and violin conveyed the plea in poignant Punnagavarali.
Narada briefs the rishis about the condition of Prahlada and plays the veena (melodiously rendered by Saipriya) and Prahlada recollects. It was the same veena sound he had heard while in his mother’s womb. It all comes back to him with ‘Nijamayite.’ Narada arrives (‘Narada muni Vedalina’) and Prahlada prostates.
‘Jayatu Jayatu,’ took the viewers on a guided tour of Vaikuntam along with to the accompaniment of flute, vocals, veena and violin. Narada reassures the bhakta and bestows on him the power to overhear the conversation between Vishnu and his consort Lakshmi. Vishnu argues in favour of Prahlada’s unmatched devotion. Alternate singing by Padmavathi and Natarajan, gave it a dramatic effect.
Longing for Vishnu becomes deeper and Prahlada faints. ‘Eti Janmamidi’ in Varali by Anantharaman (violin) was soul stirring.
After the long-awaited arrival of Vishnu, He convinces Prahlad that it is no dream. ‘Enati Nomu Phalamo’ was well-presented on the flute by Hema Balasubramanian.
Vishnu further tests his devotee by tempting him with boons. But no material gain can tempt him (‘Adugu Varamula’). His only gift is the presence of ‘Varijanayana’ (when I have rice, why settle for gruel; when mother is around why go to the nanny?) In this, the flute and violin vied delightfully with each other.
The sheer bliss experienced by Prahlad was brought out in ‘Aanandam Aanandam.’
Brahma arrives on the scene. Prahlad searches for His Lord and finally the divine union is witnessed (‘Pahi Kalyana Rama’). Celebration all around was brought out in ‘Sompaina Manasutho’.
‘Ni nama rupa mulaku’ in Saurashtram (tradition of Yakshagana, where the opening and closing pieces are in the same raga) was followed by ‘Phalasruti’ (benediction) by Padmavathi.
The full-throated singing backed by the accompanists filled the auditorium with fine music. Thaanam segments by Saipriya on the veena, scintillating strokes by Aditya on the mridangam and Sekar on the ghatam added to the tempo. Clear diction, right emphasis on every syllable, and a voice that scaled up and down with ease enhanced the recital.
Unexpected thundershowers and technical glitches delayed the programme and though the event extended way beyond 10 p.m., the audience sat glued to their seats enjoying the opera.