An enlivening experience

Methil Devika, who gave a dance recital in the “EFCEP” series, is well versed in both Mohiniyattom and Kuchipudi.

She holds a Masters degree not only in Performing Arts but also in Business Administration! She has been trained in Mohiniyattom by Girija Chandran and Leelamma and is now pursuing PhD as well.

Devika, from her charming personality and captivating movements captured the complete attention of the house right from the first piece, which was Ganapathi. The “Thyani” was on a dancer, who was pleased to see the colourful “Rangoli” of Devi, before entering the sanctorum.

Her potrayal of the well-known composition “Kripaya Palaya” (Charukeshi) was neat and evocative. Combining drama and mime aesthetically, the “Kirtharjuneeyam” was an enlivening experience (though the tuning was reminding another popular keerthane of Saint Tyagaraja). Endowed with an ideal figure for a dancer and expressive eyes, her performance was effective. No doubt, Methil Devika has a bright future in the years to come.

Experienced vocalist

Senior artist Vinayak Thoravi gave a Hindustani vocal recital on Wednesday at the Ramana Maharshi Academy for the blinds, which was sponsered by Ramasudha Charitable Trust. He was accompanied on the tabla by Rajendra Nakod and on the harmonium by Dattatreya Velankar.

Raga Purya Kalyan gave him a sound beginning. He gave a majestic potrayal of the raga and revealed his expertise and the raga acquired a delight as he moved in both Vilambith (Eka Thal) and Druth (Teen Thal). It was followed by a caravan of devotional songs. “Dayamado Ranga”, the familiar Devaranam, was impressive while “Anjike Inyathake” was pleasing. Basavanna’s vachana “Ullavaru shivalaya maduvaru” was equally haunting for its lyrical appeal. The classical status i the Bhairavi was profound in the concluding Devaranama “Kangalidyathako”.

With a touch of emotion

Well-known artist Bombay Jayashree launched the website of Aananda Foundation (www.aanandaa.com and gave a vocal recital also. She was well supported by H N  Bhaskar on the violin and by J Vaidyanathan on the mridhanga. A serene atmosphere prevailed as she opened the concert with the “Vinayaka Vignanashaka”.

“Himagiri Tanaye” is a favourite of old timers. Kaapi raga showed a mastery one associates with an artiste of her talent and experience. The well-known Keerthane “Inta Soukhyamani” chiselled with sparkling swara and the alapana was rendered with good feeling. “Sri Mathru Bhutam” and “Nathahare” stood out for their aesthetic charm. After “Mrigayathara”, she concluded woth a composition of Swathi Thirunal (Giridhara Dhare). She sang in an unhurried pace and with a touch of emotion making for delightful listening.

Hamsadwani puraskara

Two CDs sung by Vidhushi M. S. Sheela (compositions of Veena Seshanna and Dr Ashok Madhav) were released on the inaugral day of the anniversary celebrations of the Hamsadwani creations. Amith Nadig, the young and talented flutist was in his elements as he started with a familiar varna in the raga Vasantha. The “Akhilandeshwari” acquired a special delight because of the good “bhava”. He handled “Sriharivallabhe” most convincingly, as it grew into a proportioned presentation. Three seasoned instrumentalists- C N Chandra Sekhar (violin), A V Anand (mridanga) and G. Omkar (ghata) accompanied him. Earlier Vidyabhushana and A V Anand received the “Hamsadwani Puraskara”.

Kartheeka sangeetha sandhya

Solo violin and veena cocerts apart fromm vocal, were held in the “Kartheeka Sangeetha Shubha Sandya”, held under the joint auspices of the Nadajyothi Tyagaraja Swamy Bhajana Sabha and Malleswaram Arya Vysya Sangha last week. Dr. Jayanthi Kumaresh, who gave a veena recital here, is shaping well to give a creative continuity to an illustrious line. There was customary abandon when she began with a familiar varna.

A composition each of Tyagaraja and Dokshitar were rich in their tonal flourishes and neat technique. Varali grew into proportioned presentation convincingly. Jayanthi let herself flowing on the frets to unleash a plethora of lilting phrases, in the “Rama Nee Samana”. Experienced Arjun Kumar (Mridanga) and young Pramath Kiran (Morching) played on their percussion instruments with aplomb.