Successful Kalavanta

Music and dance reviews

Successful Kalavanta

Young and upcoming artistes established their credentials individually and collectively in the Kalavanta festival, last week.

Ten organisations of the city have come forward to form the “Karnataka Fine Arts Council” to conduct talent promotional programmes, every year. In the second edition held last week, 45 artistes from many parts of the country - few from abroad also - vied each other to prove their mettle. Who said classical music is dying? These young artistes gave enough proof to show that carnatic music’s future is safe in their hands. Naturally the festival aroused as much curiosity as a keen sense of anticipation, among connoisseurs.

Anirudh Venkatesh, who gave a vocal recital on Tuesday, is from USA and was initiated to music by Padmakutty. He is receiving guidance now from P  S Narayanna Swamy. A rich voice attended by powerful resonance helped Anirudh to display his prowess in a varied repertory. In the first half of the concert itself “Sugunnamule” was appealing. Tyagaraja’s  another composition “Lokavana Taruna Pahimam” was rendered highlighting his musical sensitivity. “Bhogindra Shayinam” is a all-time favourite. “Ninne Nammi Naanu Sada” - was the main item of the evening, aesthetic twists and flowing ‘gamakas’ exfoliating the evocative image of the raga. Shreya Devnath and Akshay Anand gave good support on violin and mridanga, respectively.

Tejas Mallela, who gave a violin solo recital, took initial lessons from Komanduri Venkatesh and advanced traning from A Kanya Kumari and is also practising vocal music. In the current concert Adamya Ramanand and Sunad Anoor accompanied on Mridanga and Khanjari, respectively. After the Varnna, Tejas saluted to invocatory God through the composition “Siddi Vinayakam”.

After the master piece - Swarajati of Shyama Sastry - he chose another well-known composition of Saint Tyagaraja “Durmargacaradhamulanu”. But Ranjani was bereft of the raga’s customary dignity. However, Kaapi regained with plentitude of charm for the Kruthi “Inta Soukhyamani”. Some more higher training and listening to senior’s music may help him to bring better impact.

Another vocalist from Tamil Nadu Ananya Ashok, was supported by Sandeep Ramachandran on violin and Deepika Srinivasan on mridanga. Ananya is a student of Anuradhasridhar and T  N Seshagopalan. “Sri Mahaganapathim” is a fine composition to begin with. She paid tributes to all the Trimurthies by selecting one Kruthi of each. “Sugunnamule Ceppu Konti” of Tyagaraja, with brief alapana and nerval (Sri Nayaka Kshamiyincu) was pleasing. “Devi Brova Samayamide” of Shyama Sastri is a diginified Kruthi. Shankarabharanna was notable for her adherence to tradition and gave glimpses of her talent, though concert in total was less impressive.

Promising vocalist

Narayanna Sharma is being groomed by Lalgudi G J R Krishnan now. He has received lessons from S Yashasvi. He made an impressive begining of his solo violin recital, with the well-known varna of Lalgudi Jayaraman in the raga Charukeshi. He chose a composition of Koteeswara Iyer, instead of the usual invocatory pieces.

 He presented simhendramadhyama. In between two popular kruthies - “Manasa Etulo” and “Bantureethi” - were neatly delineated. Todi, the dignified raga testified to his dedicatio.

His adherence to tradition is notable and all he needs is some more concert experience. Chetan Murthy and Chidananda - accompanied on mridanga and morching. Vocalists Vignesh Easwar and Vani Rama Murthy along with Dileep K  J (violin), Anoor Vinod Shyam (mridanga) and Sunad Anoor (khanjari) - received  prizes.