<p>Sparkling ‘Kavya Rasa’ <br /></p>.<p>Nrityantar presented Kavya Rasa, based on Jayadeva's lyrics of ‘Geeta Govinda’, under the able leadership of Madhulitha Mohapatra.<br /><br />‘Geeta Govinda’ is one of the most popular lyrics of India. Based on Krishna and Radha's love, it is a most-sought after theme for the dancers of all forms. Though the theme is an old hat for fanciers of dance, it is an ever-inspiring. Every choreographer worth the name has tried the ‘Geeta Govinda’ again and again and it has come on the dance platforms in all the styles from centuries. Radha Krishna's love pangs of separation (Viraha), union, angry, suspicion, feeling of lovelorn hero-heroine - were presented by eight senior dancers and dance Gurus of Bengaluru. Each one of them choose one Asthapada and thus witnessing eight Asthapadees at a stretch, was a different experience, to the connoisseurs as well.<br /><br />Madhu Nataraj Kiran opened the programme with the ‘Lalita Lavanga’, with restrained but impactful Abhinaya. Well-known dancer Gopika Varma presented the ‘Chandana Charchita’ in the enchanting Mohiniattam style and ‘Sakhi He’ was the choice of Sandhya Kiran, ‘Radhika Tava Virahi’ was selected by experienced Veena Murthy Vijay. ‘Dheera Sameera Yamuna Theere’ was presented pleasingly by Jyotsna Jagannathan. Guru Bhanumathi's experience came to fore once again in the ‘Pashyati Dishi Dishi’. After ‘Yami he Kamiha’ by Aishwarya Nityananda, the ‘Manju Tara Kunja Tara’ by senior Vyjayanthi Kashi was a fitting finale for the first day's ‘Kavya Rasa’. <br /><br />Jayadeva has brought different shades of nature in his poetry. Spring season, tender breeze, Yamuna river, fragrance of Vasanthi, lotus, Jasmine and other flowers; melodious sounds of Krishna's flute and Gopis’ songs add beautifully to the serene atmosphere. Eight senior dancers brought ‘Geeta Govinda’ in Bharatanatyam, Kathak, Kuchipudi, Odissi and Mohiniattam impactfully. It was an intelligent adoption of Asthapadi vouched for their choreographic skill and Abhinaya. Most of them performed without overdoing anything. Another important thing is musicians shared the honours with the dancers.<br /><br />Gaana Sourabha<br />D Subbaramaiah Fine Arts Trust conducted the ‘Gaana Sourabha’, a festival of young musicians, under the able direction of Vasantha Madhavi.<br /><br />AnoorPhandira Sharma who gave the inaugural concert hails from a musicians' family of repute. He was initiated to music by his mother Vidushi Vimala H and he is receiving advance lessons from Vidwan Anoor Anantha Krishna Sharma. He is an engineer and a recipient of prize from R K Srikantan Memorial Trust. Though it was a just a two-hour programme, Phanindra chose a Pallavi as the piece de resistant of the concert, which was appreciated by the connoisseurs gathered. He choose the majestic Raga Thodi and the Alapana was neat and evocative, with brief Thana. The Pallavi (Neeve Gathiyani) set to Adi Thala was in the right direction. The Ragamalika Swara further added pep to the Pallavi. Earlier, he also sang a few compositions in Saranga (Mamava Raghurama), Shuddha Dhanyasi (Subramanyena) etc.<br /><br />With his good voice, he sang with ease and assurance and the concert was proof of his talent and good training. He will be able to bring more depth to his music - especially to Raga and nerval, with some more training and stage experience. Three young instrumentalists - M P Aditya on violin, Nagendra Prasad on Mridanga and SunadAnoor on Khanjari - gave a good support.<br /><br /></p>
<p>Sparkling ‘Kavya Rasa’ <br /></p>.<p>Nrityantar presented Kavya Rasa, based on Jayadeva's lyrics of ‘Geeta Govinda’, under the able leadership of Madhulitha Mohapatra.<br /><br />‘Geeta Govinda’ is one of the most popular lyrics of India. Based on Krishna and Radha's love, it is a most-sought after theme for the dancers of all forms. Though the theme is an old hat for fanciers of dance, it is an ever-inspiring. Every choreographer worth the name has tried the ‘Geeta Govinda’ again and again and it has come on the dance platforms in all the styles from centuries. Radha Krishna's love pangs of separation (Viraha), union, angry, suspicion, feeling of lovelorn hero-heroine - were presented by eight senior dancers and dance Gurus of Bengaluru. Each one of them choose one Asthapada and thus witnessing eight Asthapadees at a stretch, was a different experience, to the connoisseurs as well.<br /><br />Madhu Nataraj Kiran opened the programme with the ‘Lalita Lavanga’, with restrained but impactful Abhinaya. Well-known dancer Gopika Varma presented the ‘Chandana Charchita’ in the enchanting Mohiniattam style and ‘Sakhi He’ was the choice of Sandhya Kiran, ‘Radhika Tava Virahi’ was selected by experienced Veena Murthy Vijay. ‘Dheera Sameera Yamuna Theere’ was presented pleasingly by Jyotsna Jagannathan. Guru Bhanumathi's experience came to fore once again in the ‘Pashyati Dishi Dishi’. After ‘Yami he Kamiha’ by Aishwarya Nityananda, the ‘Manju Tara Kunja Tara’ by senior Vyjayanthi Kashi was a fitting finale for the first day's ‘Kavya Rasa’. <br /><br />Jayadeva has brought different shades of nature in his poetry. Spring season, tender breeze, Yamuna river, fragrance of Vasanthi, lotus, Jasmine and other flowers; melodious sounds of Krishna's flute and Gopis’ songs add beautifully to the serene atmosphere. Eight senior dancers brought ‘Geeta Govinda’ in Bharatanatyam, Kathak, Kuchipudi, Odissi and Mohiniattam impactfully. It was an intelligent adoption of Asthapadi vouched for their choreographic skill and Abhinaya. Most of them performed without overdoing anything. Another important thing is musicians shared the honours with the dancers.<br /><br />Gaana Sourabha<br />D Subbaramaiah Fine Arts Trust conducted the ‘Gaana Sourabha’, a festival of young musicians, under the able direction of Vasantha Madhavi.<br /><br />AnoorPhandira Sharma who gave the inaugural concert hails from a musicians' family of repute. He was initiated to music by his mother Vidushi Vimala H and he is receiving advance lessons from Vidwan Anoor Anantha Krishna Sharma. He is an engineer and a recipient of prize from R K Srikantan Memorial Trust. Though it was a just a two-hour programme, Phanindra chose a Pallavi as the piece de resistant of the concert, which was appreciated by the connoisseurs gathered. He choose the majestic Raga Thodi and the Alapana was neat and evocative, with brief Thana. The Pallavi (Neeve Gathiyani) set to Adi Thala was in the right direction. The Ragamalika Swara further added pep to the Pallavi. Earlier, he also sang a few compositions in Saranga (Mamava Raghurama), Shuddha Dhanyasi (Subramanyena) etc.<br /><br />With his good voice, he sang with ease and assurance and the concert was proof of his talent and good training. He will be able to bring more depth to his music - especially to Raga and nerval, with some more training and stage experience. Three young instrumentalists - M P Aditya on violin, Nagendra Prasad on Mridanga and SunadAnoor on Khanjari - gave a good support.<br /><br /></p>
