<p>Different faces of love<br /><br /></p>.<p>Brigade Millennium Welfare Trust presented a special programme on love, titled “Olave Jeevana Saakshaatkaara.” It projected different facets of Love, through Carnatic classical music. <br /><br />Manasi Prasad, who presented it, is an exceptionally talented young musician, and is well-known to music connoisseurs. In the beginning Manasi explained her concept in a nutshell: different facets of love like- vaatsalya (mother’s love), sakhya bhava (friendship) and prema (sweetheart) –– and were presented through compositions of different composers, in various languages. For this she quoted from Kumara Vyasa to Keats and sang different compositions. <br /><br />The opening song “Hrudayada hadina shrutiye preeti” of Shathavadhani Dr Ganesh was in the raga Bahudari. Divine love of Radha Krishna were narrated through “Brindavana Nilaye” of Oothakadu Venkata Subbaiyer. <br /><br />The Madhurashtakam in ragamalika attracted with lilting melody and ‘Viraha’ (separation) was expressed through the song ‘Rachitam Rati’ in the raga Bhairavi. While singing verses from the Kumara Vyasa Bharatha for the ‘Sakhya Bhava’, potentialities of her voice came to fore impactfully. <br /><br />All the elements of a ‘Sangeetha Kucheri’ were utilised by Manasi effectively, which suited the occasion very well. Thus she also chose a Pallavi set to Mohana Raga. <br />Though Thana looked little longer than the alapana, the brief swara with the ragamalika were also pleasing.<br /><br />Yes, there was a folk tune (Saawariya) and a lullaby (Omana Thingal) also to buttress the feeling of ‘Premabhava’. She concluded with a less known composition of saint Tyagaraja “Sringaarinchukoni vedaliri” (Surati) for “Prema Bhakthi”.<br /><br />Dramatising the sequences, with Abhinaya Manasi scored mainly through her melodious vocal. Indeed it is a good effort, in exploiting the different possibilities of classical music. Chithra Lingam’s veena attracted throughout the programme while Mathur Srinidhi and B S Anand supported on violin and mridanga respectively.<br /><br /></p>.<p>Bhava Sankramana<br /><br />“Rasika”, popular dance school of Bangalore celebrated “Bhava Sankramana” last week, with, lecture demonstrations, felicitation and performances. Veteran artistes Dhananjaya and Shanta, felicitated Kiran Subramanya and Sandhya, popular dancers of Bangalore, in recognition of their services to the field of dance.<br /><br />Later students of Rasika gave a Bharatha Natya recital, which was well received by the audience. They opened the programme with the “Aarambh”. Opening with the verses of Natya Shastra, all the elementary techniques of Bharathanatya (Angika, Vachika, Aharya and Satvika) and Bhava, Hasta , Greeva, Dristi and Paada Bhedas - were performed precisely and aesthetically. But their facials seemed short in registering different moods in the ‘Navarasa” and was well woven as a Alaripu (Chaturashra).<br /><br />The next item “Ananda Natanamaduvar”- is a ever popular item and vouched for a sound grounding. In the next Surdas Bhajan young Krishna is caught red handed and he tries to defend himself. Finally mother Yashoda is appeased - the item was performed with popular appeal. <br /><br />Final item of the evening was a Thillana, in the infrequent raga Surya, choreographed by Ramya and Shivaranjani. They all performed with ease and confidence. Kiran Subramanya (Natuvanga), D S Srivatsa (vocal), Srihari (mridanga) Mahesh Swamy (flute), Chitra Lingam (veena) and Manjunath (rhythm pad)- supported well.</p>
<p>Different faces of love<br /><br /></p>.<p>Brigade Millennium Welfare Trust presented a special programme on love, titled “Olave Jeevana Saakshaatkaara.” It projected different facets of Love, through Carnatic classical music. <br /><br />Manasi Prasad, who presented it, is an exceptionally talented young musician, and is well-known to music connoisseurs. In the beginning Manasi explained her concept in a nutshell: different facets of love like- vaatsalya (mother’s love), sakhya bhava (friendship) and prema (sweetheart) –– and were presented through compositions of different composers, in various languages. For this she quoted from Kumara Vyasa to Keats and sang different compositions. <br /><br />The opening song “Hrudayada hadina shrutiye preeti” of Shathavadhani Dr Ganesh was in the raga Bahudari. Divine love of Radha Krishna were narrated through “Brindavana Nilaye” of Oothakadu Venkata Subbaiyer. <br /><br />The Madhurashtakam in ragamalika attracted with lilting melody and ‘Viraha’ (separation) was expressed through the song ‘Rachitam Rati’ in the raga Bhairavi. While singing verses from the Kumara Vyasa Bharatha for the ‘Sakhya Bhava’, potentialities of her voice came to fore impactfully. <br /><br />All the elements of a ‘Sangeetha Kucheri’ were utilised by Manasi effectively, which suited the occasion very well. Thus she also chose a Pallavi set to Mohana Raga. <br />Though Thana looked little longer than the alapana, the brief swara with the ragamalika were also pleasing.<br /><br />Yes, there was a folk tune (Saawariya) and a lullaby (Omana Thingal) also to buttress the feeling of ‘Premabhava’. She concluded with a less known composition of saint Tyagaraja “Sringaarinchukoni vedaliri” (Surati) for “Prema Bhakthi”.<br /><br />Dramatising the sequences, with Abhinaya Manasi scored mainly through her melodious vocal. Indeed it is a good effort, in exploiting the different possibilities of classical music. Chithra Lingam’s veena attracted throughout the programme while Mathur Srinidhi and B S Anand supported on violin and mridanga respectively.<br /><br /></p>.<p>Bhava Sankramana<br /><br />“Rasika”, popular dance school of Bangalore celebrated “Bhava Sankramana” last week, with, lecture demonstrations, felicitation and performances. Veteran artistes Dhananjaya and Shanta, felicitated Kiran Subramanya and Sandhya, popular dancers of Bangalore, in recognition of their services to the field of dance.<br /><br />Later students of Rasika gave a Bharatha Natya recital, which was well received by the audience. They opened the programme with the “Aarambh”. Opening with the verses of Natya Shastra, all the elementary techniques of Bharathanatya (Angika, Vachika, Aharya and Satvika) and Bhava, Hasta , Greeva, Dristi and Paada Bhedas - were performed precisely and aesthetically. But their facials seemed short in registering different moods in the ‘Navarasa” and was well woven as a Alaripu (Chaturashra).<br /><br />The next item “Ananda Natanamaduvar”- is a ever popular item and vouched for a sound grounding. In the next Surdas Bhajan young Krishna is caught red handed and he tries to defend himself. Finally mother Yashoda is appeased - the item was performed with popular appeal. <br /><br />Final item of the evening was a Thillana, in the infrequent raga Surya, choreographed by Ramya and Shivaranjani. They all performed with ease and confidence. Kiran Subramanya (Natuvanga), D S Srivatsa (vocal), Srihari (mridanga) Mahesh Swamy (flute), Chitra Lingam (veena) and Manjunath (rhythm pad)- supported well.</p>
