Promising veena player

Promising veena player

Music and dance reviews

Promising veena player

Promising veena player

The Mysore Baani is one of the most prominent styles of veena. Even today, there are many excellent veena players in Karnataka and there are new additions to the list, every year.

Dr Geetha R Bhat, who gave a veena recital for the “Every Friday Cultural Evening Programme” is not a stranger to the music lovers of the City. She was initiated into music by G Gnanambal and received advanced training from R K Srinivasa Murthy and E P Alamelu. She has also passed the proficiency examination and has performed in few Sabhas and Sammellans. Interestingly, she has to her credit a doctorate in neuro - musicology and the therapeutic powers of classical music from the London University. She also runs the “Swayambhu” which caters to  differently abled  children.

Dr Geetha R Bhat, in the current concert, presented compositions of Mysuru composers, in a pleasing manner. It was a fine start with the Varna in Kadanakuthuhala. She presented compositions of Dr L Muthaiah Bhagavatar, Veena Seshanna, Maharaja Jayachamaraja Wodeyar, Mysore Vasudevachar and Veena Venkatagiriyappa, which was lively throughout. After the “Prannamamyaham” in Gowla, she “Chose Amba vani” in that evocative raga Keeravani. Short raga for almost all Krithis was a welcome approach.

“Sri Jalandhara” was followed by “Ramaninnu” (Ananda Bhairavi). Then the Kambodhi Swarajathi in Adithala, was a pleasant surprise. “Raja Raja” in Niroshtaka raga is a familiar kruthi. Dharamavati raga and the Kruthi “Surapalasannutha” were good in form and content. The “Tani” was followed by a Devaranama (Venkatachalanilayam), a Thillana (Kaapi) and the historical “Kayosri Gowri”. With powerful “Meetu” her playing was steady, without being exciting. With some more higher training and listening to veterans, she will be able to bring more depth and make it better impactful. Three percussionists - B S Prashanth, Raghu Nandan and Prasanna Kumar accompanied her.

Kavya rasa

The Nrityantara presented a special programme called “Kavya Rasa” last week, based on Jayadeva’s Geeta Govinda. Geetha Govinda, a master piece of 12th century Sanskrit literature narrates the love of Radha and Krishna; their longing, joy, anxiety, separation, culminating in their blissful union.

Prominent dancers of Bengaluru beautifully performed Geeta Govinda in different styles. Astapadi “Lalita Lavanga” was presented in Bharathanatya by Anuradha Vikranth, “Chandana Charchita” in Katak by Manasa Joshi, “Sanchara Dadhara” in Kuchipudi by Shama Krishna, “Sakhi He” in odissi by Meghana Das, the popular “Yahi Madhava” by Prateeksha Kashi in Kuchipudi style, “Harirabhisarati” in odissi by Madhulita Mohapatra, “Priye charusheele” in Bharathanatya by Sathyanarayana Raju and “Kuru Yadunandana” again in odissi by Sharmila Mukherjee.

Geeta Govinda is inspiring artistic creativity in classical dancers from centuries and it has remained as a pet theme in all the dance styles of India. All the 8 dancers delighted the jam packed connoisseurs with their impactful abhinaya. Kudos to Madhulita Mohapatra and Nrityantar for organising a memorable programme.

Good in parts

Vani S Hemmige, a young musician, gave a vocal recital last week under the auspices of the M E S Kalavedi. She is a disciple of P Rama and is being guided by R Surya Prakash.It was a mixed fare, as Vani was not confident in the beginning of her current concert. But by the time she chose “Vijayambike,” she settled down and started singing with assurance. “Ananda Natana” is popular in dance recitals also. She chose Keeravani, the evocative raga as the main item of the evening. No doubt it is a popular ‘rakti raga’. But her recital lacked the usual flourish. Her alap did not offer much aesthetic fervour. But the Kriti “Kaligeyunte” was not short of its lyrical endearments. Alapana and Swara Prasthara betrayed her inadequacy in that major department.

She has potential and will have a promising career ahead. Kanchana S Shruthiranjani on violin, Anoor Vinod Shyam on mridanga and Sunaad Anoor on Khanjari - supported on their respective instruments.