A variety served on stage

Srekala Bharath's dance ballet,' 'Arupadai veedu'.   | Photo Credit: mail pic

The 40th anniversary of Pollachi Tamil Sangam was celebrated at the Nachimuthu Gounder Centenary auditorium, featuring some of the best artists in vocal and instrumental music, Bharatantyam and drama. In a colourful function inaugurated by Dr. N. Mahalingam ( He inaugurated the sangam 40 years ago) and presided over by Karumuthu T. Kannan, Managing director, Thyagaraja Mills, Madurai, Mandolin U. Shrinivas was honoured with the title, Madura Isaiyarasu.

After the auspicious nagaswaram by Muthuveeraswamy, Mandolin Shrinivas gave a scintillating performance. He was accompanied by the renowned tavil maestro Valayappatti A. R. Subramaniam.

He began his well-attended concert with ‘Tatvamariya Tarama' in Ritigowla by Papanasam Sivan. He touched new heights while portraying Kalyani, preceding ‘Unnaiyallal Veray Gathi.' His instrument was eloquent in its variety, liveliness, imagination and pleasing sowkyabhava.

While his raga delineation tried to fathom the depth of the raga, his dazzling and enchanting swara phrases poured forth like sparklers. Valayapatti Subramaniam proved his mastery each time his fingers touched the thavil, to the delight of the main artist and the audience. His thani was lapped up with enthusiasm and applause.

Pattimandrams headed by Ku. Gnanasambandan and Solamon Papaiah entertained the audience for the next two days.

A class of its own

Dr. B. Vijayagopal's flute recital had a class of its own. Having honed his skill under great masters T.R. Navaneetham, T.S. Sankaran and K.V. Ramanujam, Vijayagopal combined melody with mastery.

Commencing his concert with ‘Moolaadhaara Moorthi' in Hamsadhwani, Vijayagopal presented lovely compositions in ragas depicting various moods. Mysore V.Srikanth's mellifluous and imaginative violin, Neyveli Skandasubramaniam's brilliant mridangam and Alathur Rajaganesh's powerful ganjira blended beautifully to create a magical effect that the audience would cherish for ever. Later in the evening, Bombay Sharada, daughter of well-known singer M.R.Vijaya, sang popular devotional songs.

Young V. Dikshitha and R. Karthik (sponsored by Tamilnadu Iyal Isai Nadaga Mandram) justified their selection in separate solo concerts. A disciple of Raji Gopalakrishnan and Prof. T. R. Subramaniam, Dikshitha exhibited confidence and maturity. Karthik Narayanan's child-like face belies his mastery, and his elaborate raga delineations and cascading swarakalpanas exceeded the expectation of the audience. Guru Rajkumar Bharati's earnestness and enthusiasm were clearly reflected in his performance. Experienced violinist Kodunthirappally Subbaraman accompanied this young talent with ease and sensitivity. Santhosh Ram on the mridangam gave lively support.

Impressive and colourful

Srekala Bharath's Tejas Dance Academy presented a colourful and impressive dance programme, ‘Arupadai Veedu.' Srekala's ability to co-ordinate was as praiseworthy as her creative choreography. Rashmica as Valli and Srekala as Muruga (as hunter, old man and the Lord ) stole the show with their captivating performances. The orchestra led by Bhavani Kishore Kumar (vocal support), Srinivasan (violin) and Dhananjayan ( mridangam) gave the recital a boost. The ethnic costumes designed by Srekala Bharath added authenticity to the dance.

The play, ‘Neenga yaar pakkam?' presented by Chennai Stage Creations as the concluding programme was humorous and thought-provoking. The realistic acting of Kathadi Ramamurthy and his troupe made the members of the audience feel as if they were peeping through their neighbour's window. The story revolved round Kathadi Ramamurthy, who refuses to go and stay with his son in the U S. His wife is torn between affection for her son and duty towards her husband. Affection wins and she goes to her son. The lonely and boring life there makes her a mental wreck and she is brought back to Chennai. What appears to be an incurable mental disorder disappears in a jiffy as she hears the local gossip. The theme deserved to be handled with greater seriousness. But the purpose was to make people laugh and Kathadi succeeded in it.

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Printable version | Apr 19, 2021 6:27:30 PM |

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