Lavanya Ananth's Bharatanatyam performance at the Music Academy Dance Festival impressed first of all by its well-rehearsed professionalism. More important, it had freshness and sincerity. The balanced choice of items was varied in content, and aptly paced to bring out the best effect.
The Nrittanjali made a steady start. The glowing verses of the Lalita Sahasranamam were depicted with taste. The description of the deity's beauty was marked by elegance, especially in little touches like the nose ring that shed its own glow.
In Dandayudhapani Pillai's Kharaharapriya varnam “Mohamahinen” sringara was handled with traditional methods that did not exclude present-day glitter. Especially in the jatis, enunciated with a compelling force by Venkatakrishan, and executed with assurance in the feet. The varnam's plus point was the notable consonance it achieved between nritta and abhinaya. No patchwork, this.
Fine contrast
Lavanya showed that she could bring a different tenor to the Ashtapadi, ‘Pasyati disi disi,' evoked not only by its verbal import, but the woeful delicacy of the raga (Vasanti) in wistful mishra beats. The impact was that of an expansive viruttam veined with feelings as the nayika goes through the pain of waiting without the certainty of a lover's meeting. “Chikkavana” made a fine contrast with its ragamalika colours and brisk tempo, as did the tillana.
Accompanying artists Venkatakrishnan (nattuvangam), Murali Parthasarathy (vocal), mridangam (M.S. Sukhi), Kalaiarasan (violin) and Bhavaniprasad (veena) made a good team for a satisfying morning recital.
