VRC Academy of Music and Dance presented a flute recital and a Bharathanatya performance by young artistes at the Seva Sadan Auditorium, Bangalore, recently.
Flautist Tejaswi Raghunath, disciple of H.S. Venugopal was accompanied by Dr. Natraj Murthy (violin), Gururaj (mridanga), and Ravi Shankar (ghata). The concert commenced with a short sketch of Goula raga followed by ‘Pranamamyaham’, Mysore Vasudevacharya’s krithi in adi tala and kalpana swaras ornamented with a few rhythmic combinations, all of which revealed an effortless style and sound technique. A quick rendition of “Vidajaladura”, the Thyagaraja composition in Janaranjani raga and adi thala set the stage for a fairly expansive alapana of Kalyani, the main raga of the concert, which unfolded in a series of sweet phrases and concluded with a mellow exploration of the mandra sthayi, descending right down to the shadja. Thyagaraja’s “Nidhi Chala Sukhama” in misra chapu thala featured a compact neraval and fluent kalpana swaras in two speeds, and ended with a very brief thani avarthana.
A bhava-laden exposition of Desh raga and “Vande Matharam”, embellished with subtle nuances and deft touches brought the concert, which was well planned and structured within the allotted time frame, and had interesting and supportive interaction from the accompanying artistes, to its conclusion.
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The second segment of the evening consisted of a Bharathanatya recital by Sucharitha Rumesh and Krishnaprame Prabhakar, disciples of Rangashree, Artistic Director of Kinkini.
The duo commenced with pushpanjali in Natta raga and adi thala and a vibrant representation of “Kaliyuga Deivame”, also in Natta, set to khanda chapu thala. “Adi Sivane”, the Todi raga varna in adi thala composed by Dandayudhapani Pillai, incorporating rich and exacting choreography, was an apt vehicle for the display of composite artistic skills acquired through rigorous training and diligent practice. The well synchronised nritta sequences were performed with clarity and precision while the emotive elements carried conviction.
Krishnaprame’s rendition of “Kannai Kavarum” a paean to the greatness of classical dance, was notable for an effective portrayal of the navarasas, underscored by the employment of mood evoking ragas such as Kedaragoula for veera rasa and Shahana for karuna rasa. Sucharitha’s abhinaya expertise was evident in her solo version of “Krishna Nee Begane Baro”, playing the role of the doting, sometimes exasperated mother, with assurance. The thillana in Paras and adi tala saw the two dancers sharing stage space and executing alternate rhythmic patterns with perfect timing, before concluding with a mangalam.
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The outstanding orchestral ensemble led by Rangashree (nattuvanga) included D.S. Srivathsa (vocal), Dr. Natraj Murthy (violin), H.S. Venugopal (flute) and V.R. Chandrasekhar (mridanga).