Bold approach marks art of singing
The ‘Moonlight Music’ at the JSS Math around the picturesque pond was even more beautiful with the cascade of dashing music by the young musician Saketharaman.
A disciple of Lalgudi G Jayaraman, Sakethraman has imbibed all the good qualities of his teacher and added his individuality too. An A grade artiste of All India Radio, he has mastered the art of singing.
Saketharaman was accompanied by Mysore M Nagaraj (violin), B C Manjunath (mridanga) and S Manjunath (ghata). The very opening number confirmed his bold approach and confidence .† Instead of the usual Varna, he started off with ‘Inthaparaka,’, a Kruthi in Mayamalavagowla, set to Rupaka tala. He dived in to neraval too in the opening kruthi itself ! The torrent of kalpana swaras only spoke of his uncontrollable talent. His ragalapana too in general was bold and clear in approach .
Be it a vakra raga , audava or shadava, the depth he reaches within a few minutes explores the nuances of that raga. Reethigowla, Hamsanandi and Madhyamavathi to name a few. The brilliant ideas expressing themselves in shining sangathis or phrases carry the listeners along with his musical journey. The Kruthis too were rendered in a lively manner. The kalpana swaras only brought his fertile imagination to forefront.
‘Paripalayamam’ of Swathi Tirunal, ‘Kisalayashayana’, Jayadeva’s ashtapadi ,’Sarasa samadana’ of Tyagaraja and ‘Ramakatha sudharasa’ of Tyagaraja breathed new life in to them.
The wonderful support by the accompanists elevated the katcheri experience. Nagaraj’s matured handling of the raga was superb. Both the Manjunaths provided very good support on the mridanga and ghata.
Sri Krishna Gana Sabha Trust and Sri Krishna Gana Sabha Music Academy jointly presented music and dance programmes as a part of its† decennial celebrations. Karthik Hebbar presented a vocal concert on the March 9 and Vishwadeep and Ankitha Rao presented a Bharathanatya recital on March 10 at the Alwar Kala Bhavana.
Karthik was accompanied by Aditi Krishnaprakash (violin), G S Ramanujam (mridanga) and M R Manjunath (ghata). A disciple of R K Padmanabha of Bengaluru, he has a backup of sound theoretical knowledge which was not utilised properly in this concert. The alignment of shruthi and the enunciation of the words should have been taken care of.
Added to this was the slippery notes. Despite a good manodharma and knowledge of music, the concert failed to impress the listeners.
Karthik presented† nearly ten kruthis. The alapanas had more of fast phrases that was a hindrance to† the ragabhava. The sarvalaghu pattern of kalpana swaras were a solace.
The rendering of† Devaranamas were filled with emotion. He certainly has the capacity to be a good† performer.
Ankitha Rao and Vishwadeep are trained in Bharathanatya by K Ramamurthy Rao of Mysore. In a short period they presented an impressive bharthanatya. Ramamurthy Rao played a dual role of singer and natuvanar. Hanumantha Raju was on the mridanga and V Narayan played the violin.
This dance recital was a blend of Marga and Desi styles. The opening Pushpanjali , followed by Alaripu, though in the marga tradition did combine a few desi steps or adavus. Both Vishwadeep and Ankitha were perfect in this.
Vishwadeep presented Nataraja Kauthuvam in Revathi ‘Mahadeva Shiva shambho’ where his abhinaya and footwork were commendable.
The bhramaris were perfect. Ankitha opted for a Padavarna in Todi with a lyrics in Kannada. “Baare sakhi karedu taare” depicted a uthkanthitha nayike that was finely handled by her. Her dance has more of grace than the stiffness of Bharathanatya.
But her footwork is just superficial. It was obvious that there was a dearth of rehearsals. While Vishwadeep carried on with confidence, Ankitha confirmed her lack of practice.
She was very good at abhinaya that was evident in ‘Dhimikita natyavanaade’ in the sequences of Puthani samhara and samudra manthana. The controlled abhinaya of Vishwadeep was enjoyable.