Music and dance reviews.

Music and dance reviews.

Seshadripuram Samithi

Rama Navami concerts continued in the second week and connoisseurs are enjoying the music all over the city.
Sree Seshadripuram Rama Seva Samithi is conducting the 68th year of Sree Rama Navami Music Festival with both Karnatic and Hindustani vocal, Nagaswara, violin solo, veena, flute and harikatha recitals at the Rashtrakavi Kuvempuu Rangamandira, Seshadripuram College premises.
In the 20-day music festival, the Samithi has provided a number of opportunities for young and upcoming artistes also, to exhibit their talent.
Young vocalist Bharat Sundar, who gave a vocal recital here on Tuesday, has studied under a few musicians and is continuing with P S Narayanaswamy. He caught the attention of the music connoisseurs when he won the “Jaya TV Carnatic Music Idol Concert” in 2010. He is equally good in rendering light music and film songs and is good at acting too. With his robust, energetic singing, Bharat Sundar embellished “Nijadasa Varada” neatly with nerval (Bhujagadipa Shayana Bhumija Ramana). He reached the thara panchama easily and the swara prasthara was intelligently woven. Swara for “Sarasa Saamadana” was also quite interesting and rendered “Seetamma Mayamma” in the “Drutha Kaala.” His career is worth watching. Delhi Sai Ram on mridanga was too loud at times, though fulfilled the needs of the occasion. L Ramakrishnan and S Krishna were in charge of violin and ghata, respectively.

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Vani Kala Kendra
Sri Vani Kala Kendra is another important centre of Ramotsava catering to the needs of the music lovers of Bengaluru West (Basaveshwaranagara).
In the month-long festival, another highlight is performances by a number of budding artistes – both music and dance. In the open air theatre, people enjoyed a variety of programmes like Yakshagana, drama and dance, apart from music. One of our vocalists who is becoming popular and reliable is Pattabhiram Pandith. In his current concert for Vani Kala Kendra, Pandith opened with “Sarasuda” the familiar varna, briskly. “Raga Sudharasa” is another evocative kruthi. “Entarani Thana” is a composition which was very familiar during the yester years. In this keertana, Saint Tyagaraja says – “Lord! come what may. I will never stray from your proximity. Is not Tyagaraja enjoying the bliss of singing your glory and divine attributes elaborated in the Vedas and other sacred lore?”
A brief alapana of Harikambodhi and nerval (Seshuda Sivaniki Bhushudu Lakshmana) – was proof of his good imagination. Revagupthi was a welcome change from the routine ragas. After a brisk “Shobillu”, he chose Abheri for a detailed exposition and brought out the spirit of the raga successfully.
“Ksheera Sagara Shayana” with a majestic “Vilamba kaala” was rendered with a memorable “Bhava.” Two devaranamas – Mosa Podanalla and Bhagyadha Lakshmi Baaramma – were also pleasing. Ramanujacharyulu on violin, K U Jayachandra Rao on the mridanga and Ullur Giridhara Udupa on the ghata – gave an inspiring support.

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Padams of Shahji
Kala Sindhu, in collaboration with Ponnaiah Lalithakala Academy, presented last week Sri Tyagesha Padams of King Shahji.
The renowned Maratha ruler was not only a patron of arts but also a composer himself, who was known as “Abhinava Bhoja.”
He has composed prabhanda, daru and padams for music, dance and drama in several languages including Sanskrit, Telugu, Marathi, Tamil and Hindustani, with the ankitha “Shahanuta” or “Shahendra.”
His 208 Padams are found in the Saraswati Mahal Library, Tanjore. Vidushi Madhavi Rajagopalan has tuned these Padams, in both well known and lesser known ragas. Senior dancer and choreographer Nandini Ramani has choreographed some of them beautifully. Under the direction of Nandini Ramani, experienced dancers Srikala Bharat, Revathi Ramachandran, Shobhana Balachandra and Sushma Ranganathan – presented a few Shahaji Padams in Bharathanatya. They had chosen very interesting Padams like Khanditha Lakshana Pada, Viraha Pada, Tribhasha Pada, etc. The Bhairavi daru was a class apart with dignified jathies.
The dancers performed impressively and revealed a pleasant disposition gracefully. Nayika’s appealing, teasing, deep feeling went well highlighting the mood of the song effectively. As an extension of music into movement, the Shahaji Padams was a pleasant experience.

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