JOIN UST B Narasimhachar (1915-1988) was a veteran critic who contributed music reviews to Deccan Herald under the pen name Saragrahi. He served as the secretary of the Malleswaram Sangeetha Sabha for a long time and has also received an award from the Karnataka Sangeetha Nritya Academy. His birth centenary was celebrated last week under the aegis of the Malleswaram Sangeetha Sabha.
On the occasion, senior veena player D Balakrishna of the “Mysore Baani” gave a pleasing veena recital. In fact, he brought a serene atmosphere right from the opening piece, with his melodious “Naada” and bright presentation. The popular song “Nenendu Vedagudara” was also well received.
The emotional appeal of the raga Reetigowla was revealed through the composition “Jananeeninuvina”. Purvi Kalyani took on a majestic gait and grandeur for “Parama Pavana”. Both Kaapi and Varali acquired a lilting flavour in Balakrishna’s veena. He capped his efforts with the evocative exposition of the majestic raga Kambodhi. It was neat and rich with solid sangathies, which left a lingering impact.
Seshanna’s thillana was a fitting finale for the delightful concert. The veena recital bore the authentic stamp of “Mysore Baani” throughout. Connoisseurs heard Balakrishna’s veena with rapt attention and respect. V S Rajagopal and N S Krishnaprasad gave good support on mridanga and ghata respectively.
Ananya Nrithyollasa
Three young, talented dancers gave a performance in this month’s Ananya Nrithyollasa and incidentally all the three were Bharathanatya recitals.
Nidhi Seshadri, a first year of B E student, who opened the programme, is a student of P Praveen Kumar of Chitkala School of Dance. She has passed senior examinations and has performed in Bahrain and for the Doordarshan. She has won awards in both dance and music.
Nidhi Seshadri opened her programme with the customary Pushpanjali (raga Aarabhi). The Reetigowla raga varna was based on ‘Krishna Leela’, including Krishna Janana, Poothani Samhara and Geethopadesha. Her Nritta at once revealed a study “thattu mattu” and the good training she has received. Nidhi Seshadri stood out with poise in stance and near precision in laya.Shubha K was initiated to dance by Shakunthala Raghavendra and she has been continuing her practice from the last 10 years under the guidance of Anuradha Vikranth of Dristi Art Centre. She has completed her Rangapravesha and has been featured in several dance dramas of her dance school also.
Shubha paid obeisance to Ganapathi (Chakravaka) and a pada of Purandara Dasa as the main item of her recital. In the devaranama “Jaganmohanane Krishna”, she performed few episodes such as Kalinga Mardhana, Mohini Bhasmasura, etc. Though Shubha performed with ease, her laya has to be improved and her expression fell short in its nuances. With higher training and some more stage experience she can reach great heights, as she is sincerely involved in dance.
The curtain call of the evening was given by Swetha Lakshman, a student of Padmini Rao of Ponniah Lalithakala Academy. A law graduate, Swetha has completed her Rangapravesha and has performed in several organisations, both in and outside the State.
Out of the three artistes of the evening, Swetha Lakshman, is certainly the senior. A Kautuam gave her a bright start and the celebrated varna “Ye Maguva” of the Tanjore Quartet in Dhanyasi raga, sparkled with some lively Nritha and her facial expressions was proof of her progress and maturity.
Abrupt ending
Curtains came down on this year’s Ramanavami Music Festival on Monday at the Vani Vidya Kendra in Basaveshwaranagara. Apart from music (both Karnatic and Hindustani), dance performances (Bharathanatya, Kathak), puppet shows, Gamaka and Yakshagana shows were held in the open air theatre. Young and upcoming artistes were also given a platform to showcase their talent.
Abhishek Raghuram is no doubt a talented artiste and a crowdpuller. A large number of connoisseurs had gathered to listen to him at the Vani Vidya Kendra last week. He presented a number of fine compositions in his own style. For instance, he presented the
“Palinthuvo Palimpavo” of Saint Tyagaraja in the raga Kanthamani. The composer in this keerthana says – “Lord! Will you protect me or not? Even if I was accused in any way, you should not treat it as wrong. A competent and noble teacher initiated me in the path of salvation through devotion and I completely follow his behests”.
Abhishek’s professional approach was discernible in his willingness to entertain his fans. He is tempted by the middle and fast tempo. But one felt the due importance should have been given to “Vilamba Kaala”. “Ramachandrudu Raghuveerudu” in that delectable raga Dwijavanti delighted audiences.
A brief alapana of Sindhubhairavi was also pleasing. When connoisseurs were in anticipation of a pallavi , he chose a mangala. Tt was not one of Abhishek’s best concerts. HM Smitha on violin, Arjun Kumar on mridanga and Sundar Kumar on khanjari – were a good team.