Music and dance reviews

Music and dance reviews

Sparkling vocal

T M Krishna, following the release of his book “A Southern Music”, gave a vocal recital accompanied by H K Venkatram on violin and Arun Prakash on mridanga. Usually Krishna attracts a large gathering of excited fans and the vocalist also doesn’t disappoint them!
But he is not predictable and one cannot anticipate a particular kriti or a raga! Krishna opened his concert with the “Samanamevaru” – a well-known composition of Saint Tyagaraja. The nerval part (Paluku Palukulaku Tene) was rather brief, but rendered with good ‘bhava’. It was followed by alapana and thana in raga ‘Janaranjini’.

Audience expected a pallavi to follow, but the artiste stopped with ragalapana and thana only! Then he jumped into ‘Enthaveduko’ (Saraswathi Manohari) – a popular composition of yester years. While singing anupallavi, he reached thara sthayee and audience wanted to clap, but Krishna signed them not to clap (and disturb the mood) and continued to sing, enjoying the music himself! Another surprise awaited the connoisseurs at the juncture. He sang

“Madhava Mamava Krishna”. But alapana (Neelambari) was rendered only in violin! Of course, Venkatram played the raga melodiously. Another composition – a jawadi – in ‘Vilamba Kaala’ was rendered full of Bhava. He said he would close the concert for the day, but began “Hecharikaga Ra Ra” (Yadukula Kambhoji) and concluded with a mangala. Whatever the reaction of the conservatives, connoisseurs enjoyed.

Natya  Vybhava

In the ‘Natya Vybhava’, the Bangalore Gayana Samaja organised four dance programmes and a Yakshagana recital.

Deepa Bhat, who presented a Bharatanatya recital, is a student of Kalakshiti and has passed Vidwath examination also. She has completed her ‘Ranga Pravesha’ in 2002 itself and has performed in several dance dramas. She is learning music and has acted in a few dramas and is training young aspirants in her dance school ‘Nritya Kuteera’.

At the event, main feature of Deepa Bhat’s dance recital was the varna “Sakhiye Nee Inda Jalam’ (Ananda Bhairavi raga – Tanjore Quartet). She performed the Virahot Khanditha Nayika with ease and assurance. But the main attraction of her programme was a ragalle of Harihara. It explains Nataraja as seen by Kumbara Gundaiah (Raga Vasantha).

Her abhinaya came to the fore in the Asthapadi “Pashyathi Dishi Dishi” of Jayadeva. Deepa Bhat has a good future in the years to come. Nagashri K S (Natuvanga), Vasudha Balakrishna (vocal), V R Chandrasekhar (Mridanga) and Dr Nataraj Murthy (violin) – supported from the wings.

Impact needs to be better    

Four prominent male dancers of Bangalore have come together to form ‘Tandava’. Kartik Datar (son of Usha Datar), Srinivasan Rajendran (student of Shubha Dhananjay), Somashekhar Chudanath (student of Suparna Venkatesh) and Darshan S (disciple of Srinivasan Rajendran) together presented three items in the Nrithya Vybhava.

They chose a Balamuralikrishna’s composition ‘Amma Anandadayini’ in praise of Adi Shakti. The second krithi was a devaranama (D V Prasanna Kumar) on Hanumantha. Episodes like ‘Sanjeevini Parvatha’ and ‘Bheemasena Garvabhanga’ were narrated, dramatising the situations. The final piece ‘Chaturmukhi’ started with ‘Omkara’ and continued with a devine keertana “Nada Tanumanisham”.

With powerful footwork and crisp jathi, it caught the attention of the connoisseurs. With some more editing and able direction, the ‘Tandava’ team may enhance the impact of their performance.

Mysore V Subramanya

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