<p>Promising dancer<br /><br /></p>.<p>A dance recital at the ADA Rangamandira is not unusual or rare! But it was different and refreshing to witness an Odissi dance programme here, last week. Dancer Prithvi P Nayak is a disciple of ‘Sanjali’, the dance school of Sharmila Mukherjee. She has several prizes to her credit, nor she is short of stage experience. Her stance and confidence with which she ran through a compact programme made an immediate impact on receptive audience.<br /><br />In the opening 'Mangalacharan' (Rag Malika and Thaal Malika) Prithvi saluted to Lord Jagannath, followed by a prayer in praise of Goddess Saraswathi and ended with a Trikhandi' Pranam. The Pallavi blossomed with well woven rhythmic phrases which was set to rag keervani. In the Abhinay (Jayadeva's Ashtapadi - Hari riha), Krishna dancing with the Gopis, was attractive and the Arabhi Pallavi evocative. Enacting ten incarnations of Lord Vishnu in the Dashavtar, she concluded with the 'Moksha', in the Raag Bhairavi. With restrained but pleasant expression Prithvi performed with ease and abandon. With higher training and some more stage experience Prithvi can reach great heights, soon.<br />Prithvi had the good musical support from the wings. Rupak Parida and Ganesh Desai (Vocal), Sharmila Mukherjee (Manjira), Ekalavya Muduli (Pakhwaj), Aviram Nanda (Flute) and Ramesh Das (Violin) - were fairly good.<br /><br />Captivating Vocal<br /><br />Venkatesh Kumar (Dharwad), who sang on Sunday under the aegis of the Maharashtra Mandal, is a student of Veereshwar Punyashrama of Gadag and crowd-puller. In this concert also, a full house heard his vocal eagerly and enjoyed. <br /><br />Rag Marva gave him a bright start. The gradual development of the raga, both in Vilambith (Ekathal) and Druth (Teen Thai) - vindicated his talent and experience. Comparatively Shudh Kalyan was brief but captivating. His methodical approach to the ragas (both in Misra Kamtch and Saraswathi) with an aesthetic touch brought a colourful picture of the melody. After a ‘Ranga Geethe’ he concluded with Bhairavi, Customarily, Dr Ravindra Katoti and Keshav Joshi supported on Harmonium and Tabala, respectively.</p>
<p>Promising dancer<br /><br /></p>.<p>A dance recital at the ADA Rangamandira is not unusual or rare! But it was different and refreshing to witness an Odissi dance programme here, last week. Dancer Prithvi P Nayak is a disciple of ‘Sanjali’, the dance school of Sharmila Mukherjee. She has several prizes to her credit, nor she is short of stage experience. Her stance and confidence with which she ran through a compact programme made an immediate impact on receptive audience.<br /><br />In the opening 'Mangalacharan' (Rag Malika and Thaal Malika) Prithvi saluted to Lord Jagannath, followed by a prayer in praise of Goddess Saraswathi and ended with a Trikhandi' Pranam. The Pallavi blossomed with well woven rhythmic phrases which was set to rag keervani. In the Abhinay (Jayadeva's Ashtapadi - Hari riha), Krishna dancing with the Gopis, was attractive and the Arabhi Pallavi evocative. Enacting ten incarnations of Lord Vishnu in the Dashavtar, she concluded with the 'Moksha', in the Raag Bhairavi. With restrained but pleasant expression Prithvi performed with ease and abandon. With higher training and some more stage experience Prithvi can reach great heights, soon.<br />Prithvi had the good musical support from the wings. Rupak Parida and Ganesh Desai (Vocal), Sharmila Mukherjee (Manjira), Ekalavya Muduli (Pakhwaj), Aviram Nanda (Flute) and Ramesh Das (Violin) - were fairly good.<br /><br />Captivating Vocal<br /><br />Venkatesh Kumar (Dharwad), who sang on Sunday under the aegis of the Maharashtra Mandal, is a student of Veereshwar Punyashrama of Gadag and crowd-puller. In this concert also, a full house heard his vocal eagerly and enjoyed. <br /><br />Rag Marva gave him a bright start. The gradual development of the raga, both in Vilambith (Ekathal) and Druth (Teen Thai) - vindicated his talent and experience. Comparatively Shudh Kalyan was brief but captivating. His methodical approach to the ragas (both in Misra Kamtch and Saraswathi) with an aesthetic touch brought a colourful picture of the melody. After a ‘Ranga Geethe’ he concluded with Bhairavi, Customarily, Dr Ravindra Katoti and Keshav Joshi supported on Harmonium and Tabala, respectively.</p>
