<p>A scion of ‘Prabahath Kalavidaru’ family, Rohini is a student of Abhinava Dance School and has considerable stage experience. As part of the school troupe, she has performed in many parts of the state and has toured United Kingdom with her teachers.<br /><br />In a compact programme Rohini danced with elan, leaving behind a favourable impression. After her “Ranga Pravesha’, just two years ago, she revealed a fair deal of progress, with a certain flair to her movements. The invocatory ‘Shiv Vandana’ (Rag Bairagi Bhairav) revealed her good grounding, in which description of mount Kailash was beautiful. Next she took up the purely rhythmic part, dancing to various permutation of rhythm – Thisra, Khanda, and Chathushra. Tukda, Tihayi and Paran with grace revealed the dancer’s firm grasp of the elements of the Kathak rhythm. Even in the fast tempo and ‘Chakkar’, she arrived at the ‘sum’ with ease and confidence. A popular bhajan of Tulasidas “Sri Ramachandra Kripalu” performing with mime and dramatising the episodes of Ramayan, performed pleasingly. The thumri – Hari Main Toh Haari - in the Bhairavi raga, with restrained but evocative facial expression was also appealing. The ‘Gattnikas’ in the rag Sohni was also performed convincingly. The Tarana in Malkauns was also enjoyable. With continued higher training and some more stage experience Rohini has a bright future in the years to come.<br /><br />Fiaz Khan’s unfailing musical flourishes was inspiring to the dancer. Nirupama Rajendra (padanth), Trilochan Kampli (tabla), Gurumurthy Vaidya (pakhawaj), Raghunandan (flute) and Shruti Kamat (sitar) – rose to great heights in their supporting roles.<br /> <br /></p>.<p>Pleasing vocal <br /><br />B R Padmanabha Rao is a ophthalmologist by profession, but a musician by choice. After having learnt from seniors of the field, he is now continuing his training under R N Tyagarajan, of ‘Rudra Pattana Brothers’ fame. He has performed in many sabhas both in and outside Bangalore and his repertoire is also vast, with a number of keerthana, devaranama and bhavageete.<br /><br />In his current concert for the Rajmahal Vilas Sangeetha Sabha, Dr Padmanabha was well supported by Dr Nataraja Murthy on violin, and G L Ramesh on mridanga. Though the vocalist presented a number of compositions, he mainly highlighted two ragas. A detailed airing of Simhendra madhyama caught the attention of the connoisseurs with unstinted vocal output. He unfolded the ‘ragabhava’ revolving often round the pivotal swaras, which was further amplified in the composition ‘Ninne Nammithi’. He revelled in the alap of madhyamavathi and more so in the expansive presentation of ‘Palinchu Kamakshee’ of Shyama Sastry. Nerval at ‘Kanthamaguperu’ was simple but meaningful. Starting the swaraprasthara in ‘vilamba’, gradually he shifted to ‘druthakaala’, bringing good tempo to the concert. In between he also sang ‘Entha Muddo’ of saint Tyagaraja in that lilting raga Bindumalini. ‘Bhavayami Gopala Balam’ was also pleasing, while the Kannada devaranama ‘Gunayithenna Bhava Raga’ was a meaningful composition.<br /><br /> He concluded his concert with a fine tillana in the raga Brindavani. His involvement, singing enjoying himself and without overdoing anything presenting in a simple way – is remarkable. On the whole the performance showed good musicianship.<br /></p>
<p>A scion of ‘Prabahath Kalavidaru’ family, Rohini is a student of Abhinava Dance School and has considerable stage experience. As part of the school troupe, she has performed in many parts of the state and has toured United Kingdom with her teachers.<br /><br />In a compact programme Rohini danced with elan, leaving behind a favourable impression. After her “Ranga Pravesha’, just two years ago, she revealed a fair deal of progress, with a certain flair to her movements. The invocatory ‘Shiv Vandana’ (Rag Bairagi Bhairav) revealed her good grounding, in which description of mount Kailash was beautiful. Next she took up the purely rhythmic part, dancing to various permutation of rhythm – Thisra, Khanda, and Chathushra. Tukda, Tihayi and Paran with grace revealed the dancer’s firm grasp of the elements of the Kathak rhythm. Even in the fast tempo and ‘Chakkar’, she arrived at the ‘sum’ with ease and confidence. A popular bhajan of Tulasidas “Sri Ramachandra Kripalu” performing with mime and dramatising the episodes of Ramayan, performed pleasingly. The thumri – Hari Main Toh Haari - in the Bhairavi raga, with restrained but evocative facial expression was also appealing. The ‘Gattnikas’ in the rag Sohni was also performed convincingly. The Tarana in Malkauns was also enjoyable. With continued higher training and some more stage experience Rohini has a bright future in the years to come.<br /><br />Fiaz Khan’s unfailing musical flourishes was inspiring to the dancer. Nirupama Rajendra (padanth), Trilochan Kampli (tabla), Gurumurthy Vaidya (pakhawaj), Raghunandan (flute) and Shruti Kamat (sitar) – rose to great heights in their supporting roles.<br /> <br /></p>.<p>Pleasing vocal <br /><br />B R Padmanabha Rao is a ophthalmologist by profession, but a musician by choice. After having learnt from seniors of the field, he is now continuing his training under R N Tyagarajan, of ‘Rudra Pattana Brothers’ fame. He has performed in many sabhas both in and outside Bangalore and his repertoire is also vast, with a number of keerthana, devaranama and bhavageete.<br /><br />In his current concert for the Rajmahal Vilas Sangeetha Sabha, Dr Padmanabha was well supported by Dr Nataraja Murthy on violin, and G L Ramesh on mridanga. Though the vocalist presented a number of compositions, he mainly highlighted two ragas. A detailed airing of Simhendra madhyama caught the attention of the connoisseurs with unstinted vocal output. He unfolded the ‘ragabhava’ revolving often round the pivotal swaras, which was further amplified in the composition ‘Ninne Nammithi’. He revelled in the alap of madhyamavathi and more so in the expansive presentation of ‘Palinchu Kamakshee’ of Shyama Sastry. Nerval at ‘Kanthamaguperu’ was simple but meaningful. Starting the swaraprasthara in ‘vilamba’, gradually he shifted to ‘druthakaala’, bringing good tempo to the concert. In between he also sang ‘Entha Muddo’ of saint Tyagaraja in that lilting raga Bindumalini. ‘Bhavayami Gopala Balam’ was also pleasing, while the Kannada devaranama ‘Gunayithenna Bhava Raga’ was a meaningful composition.<br /><br /> He concluded his concert with a fine tillana in the raga Brindavani. His involvement, singing enjoying himself and without overdoing anything presenting in a simple way – is remarkable. On the whole the performance showed good musicianship.<br /></p>
