Rajalakshmi Fine Arts' September Season, 2010, a 10-day festival of dance and music, featured Nethra Gururaj's Bharatanatyam recital as the first programme.
Endowed with a petite, lithe body and lovely large eyes, Nethra Gururaj endeared herself to the spectators with her impeccable footwork, fleeting expressions and a maturity beyond her age (She is 12) during her Bharatanatyam recital at Nani Palkhiwala Auditorium, Coimbatore. The highlight of Nethra's performance was the varnam, ‘Roopamu Joochi' in Thodi that had intricate jatis and immense possibility for abhinaya. Soon after this demanding piece, she danced joyfully for ‘Gokula Nilaya,' ‘Thirupparankundra Velaa,' a thillana and a few Thiruppavais without showing any signs of fatigue. She had the admirable vocal support of Radha Badri.
Guru Nagamani Srinivasa Rao (nattuvangam), V. Padmanabha (violin) and Baba Prasad (mridangam) joined together to form an excellent orchestra.
Different approach
Dr. Divyatha Arun 's constant attempt to excel herself shows in her performance. The sancharis she presented for Lalgudi Jayaraman's varnam, ‘Devar Munivar Thozhum Paathan' in Shanmukhapriya were different, appropriate and compact. For the lines ‘Thirumagal Urai Maarban,' Divyatha depicted the churning of the ocean of milk from which Lakshmi appears and takes her place in the heart of Vishnu. Vamanavathara was presented in detail for the lines, ‘Maavali Valimaiyai Kaalaal Alantha.' ‘Ithai Vida Innum Vendumo Saatchi,? brought out the intense love of the nayika and her jealous fury when she discovers that her lord has broken her trust.
Divyatha gave a lively sample of the quintessential woman in her soft, tender and desirable form in ‘Chaliye Kunjan Mo' by Swati Tirunal. The tillana interspersed with verses from Annamacharya's ‘Dolayam' was a lovely blend of aesthetics and devotion.
The orchestra was of a high quality, comprising Girija Ramaswamy (vocal support), Shanmukhasundaram (nattuvangam), Mayavaram Viswanathan (mridangam) and Devasenadhipathy (violin).
‘Ishwara Darisanam,' the dance ballet presented by disciples of Himaja Ramsharan , focussed on the significance of seven important Siva kshetras, Chidambaram, Rameshwaram, Thiruvannamalai, Mylapore, Srikalahasthi, Thirukkadaiyur and Thiruvalangaadu, with relevant episodes from the puranas and scriptures. The young dancers did their roles well, guided by Himaja's majestic nattuvangam. Her adequate but concise introduction had a major role to play in the programme's success. Lata Ramchand gave good vocal support.
Sikkil V. Balasubramanian, Nagrajan and P.V. Ramana supported them on the violin, the mridangam and the flute respectively. Ramana had also scored the music for B. Sundaresan's meaningful songs.
Dr. Jyothsna Jagannathan presented an exquisite sample of Bharatanatyam in all its variety and grace. She conveyed so much through gestures and left a sense of fulfilment in the mind of spectators. The navarasa varnam by Lalgudi Jayaraman, ‘Angayarkanni Aanandham Kondaale' was tailor-made for her. Any other dancer would have been tempted to pack it with elaborate sancharis, but Jyothsna presented only what was needed and that too briefly. She depicted viyoga shringara in all its beauty for ‘Naatha Hare! Jagannaatha Hare,' (Jayadeva's Ashtapadi). ‘Thaye, Yasodha' was a study in contrast as Jyothsna appeared as the prankster Krishna as well as the proud mother Yashodha who listens to the complaints of the gopikas, but pays no heed to them and just closes her door on them. The concluding thillana in Mohanakalyani was a fitting finale with lively jatis.
Sharanya Krishnan 's rich and emotionally charged vocal support was an added asset. Her voice seemed to dance along with Jyothsna, expressing varying emotions. A. Lakshmanan's perfect nattuvangam, Shakthivel's mridangam and Sathish Kumar's violin blended well to make Jyothsna's performance truly rewarding to the performer and the spectator.
