<p>A vocalist from Mumbai<br /><br /></p>.<p> She is a versatile artiste - a vocalist, mridangist and also a dancer and a performer in all the three branches. A student of her own mother (Meena Krishnan), Poornima is a masters degree holder in music and has completed the “Ranga pravesha” also in dance, customarily. She is a recipient of several awards and prizes including a gold medal from Bombay Tamil Sangam and Vishnu Digambar Paluskar award.<br /><br />Poornima Krishnan started the concert on a bright note, blending her voice with sruti and rendition. The “Govardhana Gireesham” was embellished with brief alapana and swara. “Nee paadamegathi” and “Innu dayebaarade” - were rendered in quick succession. She chose Kalyani, the majestic raga, for a detailed elaboration. She has a good voice and unfolded the raga climbing swara to swara, with lively phrases. But she will be able to bring more depth by some more experience, to make it more memorable one. Dropping the oft-repeated compositions she presented the “Thalli ninnu,” an excellent Krithy of Shyama Sastry, with nerval (Shayama Krishna paripaliny) and crisp swara. The concluding pieces included a Kannada devaranama (Rama Rama Seetha Rama enniro) and a thillana. She was well supported by Mathur Srinidhi on violin, B C Manjunath on mridanga and G Guruprasanna on Khanjari.<br /><br />Sparkling abhinaya<br /><br />Nandini Ajjampur, who gave a Bharathanatya recital at the ADA Rangamandira on Sunday is a student of Natya Nikethan, the popular dance school of Bangalore. She is a MSc (Microbiology) graduate and serving the PES college as a lecturer. She took her initial training under Meera Eashwaran and Hema Panchamukhi and has taken part in several dance dramas of Prabhath Kalavidaru. Nandini opened her programme with the Pushpanjali (Hamsadwani) customarily. It was followed by a Dikshitar’s composition “Gajanana yutham” set to raga chakravaka and the traditional Alaripu was in Misra Chapu. The devaranama could have brought better impact if it was presented after the varna, than as a third item itself. Nandini brought life into “Ninna magana baadhe bahalavagide,” dramatising the situations, though there was less scope for sanchari. She revealed a good grounding in the idiom, forcefully projected in the varna “Mohamana,” in the raga Bhairavi. There was poise in her stance and the interpretation substantially brought out the nayika element. With expressive eyes Nandini's abhinaya was sparkling and with some more higher training she can reach great heights.<br /><br />Nandini was supported by a team of experienced artists, which was inspiring, throughout—Guru Revathi Narasimhan (natuvanga), D S Srivatsa (vocal), G Gurumurthy (mridanga), C Madhusudhan (violin), Krishna Prasad (flute) and Sugganahalli Shadakshari.</p>
<p>A vocalist from Mumbai<br /><br /></p>.<p> She is a versatile artiste - a vocalist, mridangist and also a dancer and a performer in all the three branches. A student of her own mother (Meena Krishnan), Poornima is a masters degree holder in music and has completed the “Ranga pravesha” also in dance, customarily. She is a recipient of several awards and prizes including a gold medal from Bombay Tamil Sangam and Vishnu Digambar Paluskar award.<br /><br />Poornima Krishnan started the concert on a bright note, blending her voice with sruti and rendition. The “Govardhana Gireesham” was embellished with brief alapana and swara. “Nee paadamegathi” and “Innu dayebaarade” - were rendered in quick succession. She chose Kalyani, the majestic raga, for a detailed elaboration. She has a good voice and unfolded the raga climbing swara to swara, with lively phrases. But she will be able to bring more depth by some more experience, to make it more memorable one. Dropping the oft-repeated compositions she presented the “Thalli ninnu,” an excellent Krithy of Shyama Sastry, with nerval (Shayama Krishna paripaliny) and crisp swara. The concluding pieces included a Kannada devaranama (Rama Rama Seetha Rama enniro) and a thillana. She was well supported by Mathur Srinidhi on violin, B C Manjunath on mridanga and G Guruprasanna on Khanjari.<br /><br />Sparkling abhinaya<br /><br />Nandini Ajjampur, who gave a Bharathanatya recital at the ADA Rangamandira on Sunday is a student of Natya Nikethan, the popular dance school of Bangalore. She is a MSc (Microbiology) graduate and serving the PES college as a lecturer. She took her initial training under Meera Eashwaran and Hema Panchamukhi and has taken part in several dance dramas of Prabhath Kalavidaru. Nandini opened her programme with the Pushpanjali (Hamsadwani) customarily. It was followed by a Dikshitar’s composition “Gajanana yutham” set to raga chakravaka and the traditional Alaripu was in Misra Chapu. The devaranama could have brought better impact if it was presented after the varna, than as a third item itself. Nandini brought life into “Ninna magana baadhe bahalavagide,” dramatising the situations, though there was less scope for sanchari. She revealed a good grounding in the idiom, forcefully projected in the varna “Mohamana,” in the raga Bhairavi. There was poise in her stance and the interpretation substantially brought out the nayika element. With expressive eyes Nandini's abhinaya was sparkling and with some more higher training she can reach great heights.<br /><br />Nandini was supported by a team of experienced artists, which was inspiring, throughout—Guru Revathi Narasimhan (natuvanga), D S Srivatsa (vocal), G Gurumurthy (mridanga), C Madhusudhan (violin), Krishna Prasad (flute) and Sugganahalli Shadakshari.</p>
