Promising dancer
Dancer Vidya V Thayoor, who started training under Bhavani Ramanath (Nrityarpana), presented a beautiful Bharathanatya recital.
She is now continuing her dance training under Soundarya Srivathsa of Nartana Keerthana. This engineering graduate completed her “Rangapravesha” in 2013 and has given many performances.
“Ambasutha Karivadana” gave Vidya a bright start. Her laya as in the varna (Swamy Nanum – Nata Kuranji) had some sound grounding. Her portrayal of Virahothkhanditha Nayika, testifying to hard practice in both Nritha and Nritya, made an immediate impact.
Her Abhinaya in Antahpura Geethe was pleasing and she concluded her good performance with a thillana (Durga) and Mangala. Vidya Thayoor is can reach great heights with more training.
Karnataka Vaibhava
The Nadasurabhi Cultural Association organised “Karnataka Vaibhava”-a two-day young musicians festival.
Vivek Sadashivam, who gave a vocal recital, was initiated into music by his parents – vocalist A Sadashivam and veena player Revathi Sadashivam and is being trained by R N Tyagarajan. He has won several prizes including from the All India Radio National competition.
In the current concert, three young instrumentalists accompanied him – R Achuta Rao on violin, B S Prashanth on mridanga and R Kartheek on khanjari. Vivek’s classical-chiselled style surfaced in the very first number (Nayaki varna) itself.
He chose “Prannamamyaham” in Gowla as a invocatory piece. We don’t hear Raga Rishabhapriya (62nd mela) very often, though it is not a rare raga.
Although Tyagaraja and Dikshitar have composed in it, Rishabhapriya attained its full form and stature during the post Trinity period. One of them “Intha Shodana” of Veena Seshanna, was selected by Vivek Sadashivam, which was welcomed by connoisseurs.
In Saveri, his feel for the raga added a lilt to his singing. He chose another infrequent kruthi “Ninna Nambideno” in Dharmavathi and moved to the Pallavi. Natakuranji is known as “a fairly ancient rakti raga of super eminence with heavy emotional impact”.
His rendering of alapana and brisk thana and pallavi, was pleasing. He also sang a devaranama (Narayana Ninna) and a thillana. Vivek Sadashivam has a honed voice and sings with practiced ease. He has a bright future.
Antahpura Geethe
The Keshava Samskruthi Sabha organised a two-day cultural festival on the occasion of the 13th annual Music and Dance Festival last week. The title “Keshava Kalarathna” was conferred to veteran musician Neela Ramagopal and the book, “Geetha Gopala” of Thirumalarya, was released on the occasion by M A Jayarama Rao.
“Antahpura Geethe” of D V Gundappa is the most sought after source material for all dancers and choreographers. H R Keshava Murthy had choreographed the same decades ago and has presented it on different platforms of the State. Students of Keshava Nritya Shala and College performed under the direction of BK Shyam Prakash.
It was the rendition of a dream of a farmer who visits the Belur Temple and dreams of “Shilabalikas” dancing in front of Chennakeshava. As many as 11 students performed one after the other representing each “Shilabalike”.
Though they performed effortlessly, they have the potential to do better. It is Jhanavi Jayaprakash’s (recorded) vocal that helped sustain interest.
Dancer Vidya V Thayoor, who started training under Bhavani Ramanath (Nrityarpana), presented a beautiful Bharathanatya recital.
She is now continuing her dance training under Soundarya Srivathsa of Nartana Keerthana. This engineering graduate completed her “Rangapravesha” in 2013 and has given many performances.
“Ambasutha Karivadana” gave Vidya a bright start. Her laya as in the varna (Swamy Nanum – Nata Kuranji) had some sound grounding. Her portrayal of Virahothkhanditha Nayika, testifying to hard practice in both Nritha and Nritya, made an immediate impact.
Her Abhinaya in Antahpura Geethe was pleasing and she concluded her good performance with a thillana (Durga) and Mangala. Vidya Thayoor is can reach great heights with more training.
Karnataka Vaibhava
The Nadasurabhi Cultural Association organised “Karnataka Vaibhava”-a two-day young musicians festival.
Vivek Sadashivam, who gave a vocal recital, was initiated into music by his parents – vocalist A Sadashivam and veena player Revathi Sadashivam and is being trained by R N Tyagarajan. He has won several prizes including from the All India Radio National competition.
In the current concert, three young instrumentalists accompanied him – R Achuta Rao on violin, B S Prashanth on mridanga and R Kartheek on khanjari. Vivek’s classical-chiselled style surfaced in the very first number (Nayaki varna) itself.
He chose “Prannamamyaham” in Gowla as a invocatory piece. We don’t hear Raga Rishabhapriya (62nd mela) very often, though it is not a rare raga.
Although Tyagaraja and Dikshitar have composed in it, Rishabhapriya attained its full form and stature during the post Trinity period. One of them “Intha Shodana” of Veena Seshanna, was selected by Vivek Sadashivam, which was welcomed by connoisseurs.
In Saveri, his feel for the raga added a lilt to his singing. He chose another infrequent kruthi “Ninna Nambideno” in Dharmavathi and moved to the Pallavi. Natakuranji is known as “a fairly ancient rakti raga of super eminence with heavy emotional impact”.
His rendering of alapana and brisk thana and pallavi, was pleasing. He also sang a devaranama (Narayana Ninna) and a thillana. Vivek Sadashivam has a honed voice and sings with practiced ease. He has a bright future.
Antahpura Geethe
The Keshava Samskruthi Sabha organised a two-day cultural festival on the occasion of the 13th annual Music and Dance Festival last week. The title “Keshava Kalarathna” was conferred to veteran musician Neela Ramagopal and the book, “Geetha Gopala” of Thirumalarya, was released on the occasion by M A Jayarama Rao.
“Antahpura Geethe” of D V Gundappa is the most sought after source material for all dancers and choreographers. H R Keshava Murthy had choreographed the same decades ago and has presented it on different platforms of the State. Students of Keshava Nritya Shala and College performed under the direction of BK Shyam Prakash.
It was the rendition of a dream of a farmer who visits the Belur Temple and dreams of “Shilabalikas” dancing in front of Chennakeshava. As many as 11 students performed one after the other representing each “Shilabalike”.
Though they performed effortlessly, they have the potential to do better. It is Jhanavi Jayaprakash’s (recorded) vocal that helped sustain interest.
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