Visakha Music and Dance Academy’s seven-day annual series of music, dance and drama saw seasoned and senior artistes offering a taste of pure classicism at Kalabharati, Visakhapatnam. The series opened with the concert of reputed vocalist R. Vedavalli. This octogenarian’s rendition was exemplary for its meditative nature. Her raga essays built in a structured way are full of verve bringing out the quintessential raga bhava to the fore. Her accent on the sahithya bhava enriched the feel of it in its emotive appeal. While her prime disciple Sumitra Vasudev provided supporting vocal, she was accompanied by R. K Sreeramkumar on violin, B. Ganapathi Raman on mridangam and N. Guru Prasad on ghatam. She opened her concert with a Guruvandana verse and then sang Evarani Nirniyinchedira of Thyagaraja on raga Devamritavarshini. Her choice for the delineation as the mainstay of the evening was raga Shanmukhapriya for Marivere Dikkevarayya of Patnam Subrahmnyaier. The expansive way of its presentation is typical of her in its inimitable shades. RTP in raga Todi was another highlight of her concert. Earlier, the academy presented its ‘Nadavidya Bharati’ award and felicitated her on a warm note.
Bombay Jayashri’s grace
On the second day, it was turn of Bombay Jayashri that took the music lovers by storm. Her ease and depth in exploration of varied nuances came to the fore in every frame throughout. Her perfect diction and grace in expression enhanced the inherent beauty of the compositions taken up. She picked up raga Shanmukapriya for RTP, the star piece of the session. Laden with succinct and succulent gamakas she evolved the raga with elegant moves sprinkling nuances wherever required in optimum measure. Her music is refreshingly balmy in its effect. Swarakalpana for this in ragamalika consisting Desh, Revathi and Hamirkalyani further beautified it. H.N Bhaskar on violin, V.V. Ramana Murhty on mridangam and Giridhar Udupa on ghatam lent competent support.
The Dwaram school
On the third day, it was an instrumental treat as violin maestro Dwaram Durga prasada Rao and Dwaram Satyanarayana Rao played their musical way to the hearts of music lovers. The duo’s rendition bore the stamp of distinct Dwaram school. The treatment of the chosen ragas in soft and subtle manner with no showmanship was the hallmark of their presentation. It was a soulful rendition. Exposition of raga Subhapantuvarali for Srisatyanarayna of Dikshitar and that of raga Sankarabharanam, which was the choice of the duo for main piece of the concert, are classy in its own right. Peraval Jayabhaskar on mridgangam and M Haribabu on ghatam lent good support.
Sitar’s magic
On the fourth day Pt Subrata De presented a pleasant sitar recital. The cool evening as skies broke open after a long dry spell in weather, the melodic presentation of raga Keeravani, Yaman, Nadeswari and Pilu had truly soothing effect. Pt Partha Pratim Das was at his best on tabla.
‘Do not expect gimmicks from me’ declared redoubtable vocalist Tadepalli Loknath Sarma at very outset of the concert. Truly it was concert with no gimmicks and no singing to gallery. He sang every bit with sense of total involvement in its emotive shades both lyrical and musical. His rendition of Sadhinchine of Thyagaraja in raga Aarabhi was illustrious on this count. His exposition of raga Mayamalavagoula in threesthyai for Mayaatheetaswaroopini was a connoisseur’s delight. Mavudu Satyanrayana Sarma on violin, Dhanwada Dhrmarao on mridangam and Tenali Ramakrishna on ghatam lent good support.
Desamunu Preminchumanna , a verse drama by artistes of Young Men’s Happy Club, Kakinada capped the series.
