A Bharathanatya recital by Subhashini Vasanth was hosted by MES Kalavedi, Bangalore, recently, as part of its Ratnamma Kadambi Endowment programme.
A short and effervescent pushpanjali led immediately to the focal point of the evening, the ragamalika varna beginning “Sami Ninne Korinanura” in rupaka tala, a composition of the Tanjore Quartette. The nayika, addressing Lord Siva directly, expresses her yearning for him, fervently hoping he will hear and understand her pleas. Especially noteworthy was the sedate pace at which the piece was presented, imbuing both abhinaya and nritta with gentleness, grace and finesse, and enabling the audience to absorb and appreciate the various components of the item and the import of the lyrics. The artiste's technical expertise was also evident in the charanam which incorporated strenuous sequences executed with ease.
The perennial charm of Purandaradasa's “Jagadoddharana” in Kapi was exploited with much histrionic skill and imaginative choreography, depicting Yashoda's enchantment and exasperation in equal measure. The interpretation of “Nanoru Vilayattu Bommaya”, a composition of Papanasam Sivan in Navarasakannada raga and adi tala, favoured an underlying tone of piquant curiosity rather than the agony of a tormented soul crying out for succour. The concluding thillana in Kathanakuthuhalam raga and adi tala made effective use of the entire proscenium space in a series of pure dance movements that remained remarkably true to the musical patterns of the composition. Nattuvangam by Praveen Kumar was precise and clear but never overbearing, while Vasudha Balakrishna's tuneful vocalisation was aptly complemented by Narasimhamurthy (flute) and Lingaraju (mridanga).
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The 63rd Sri Ramanavami Music Festival organised by the Sree Seshadripuram Ramaseva Samithi featured a vocal concert by Malladi Brothers, Sriram Prasad and Ravi Kumar, accompanied by Mysore Nagaraj (violin), K.V. Prasad (mridanga) and Guruprasanna (kanjira).
A vibrant beginning was made with “Vanajakshi”, the Kalyani varna, and a sketch of Anandabhairavi suffixed with Thyagaraja's “Neeke Theliyakapothe”. A compact alapana of Shuddhasaveri preceded “Lakshanamulugala” in adi thala, rendered in an ideal tempo that highlighted the lyrical beauty of the sahithya, and a few kalpana swaras. A more detailed alapana of Ramapriya followed, incorporating some fine sancharas in the thara sthayi and combining a few unusual shades of the raga with more conventional phraseology. Deekshithar's “Mathangi Sri Rajarajeswari” was supplemented with a succinct yet erudite neraval and kalpana swaras at “Ramamanohari Rakendushekhari”.
“Phanipathishaayi”, another krithi of Thyagaraja, in Jhankaradhwani was the interlude before the main item of the concert, a raga thana pallavi in Kamboji. The raga elaboration included a plenitude of lilting phrases around each of the pivotal notes, with prolonged stints around the panchama and in the thara sthayi, revealing a freshness of approach and a fecund manodharama, within the dictates of classicism. The thanam was leisurely and intricate, augmented by the improvisational prowess of the violinist and superbly synchronized accompaniment from the percussionists. However, a more comprehensive expansion of the pallavi beginning “Daasharathe Karuna Payonidhe” in adi tala and the ensuing kalpana swaras, would have imparted a greater sense of proportion to an otherwise beautifully crafted item.
